Kerry Taylor Auctions by Jamm Design Ltd

Passion for Fashion 9th December 2014

Kerry Taylor

Kate Osborn

Lucy Bishop

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Kerry Taylor Assistants: Kate Osborn and Lucy Bishop Tel: 00 44 (0)208 676 4600 Fax: 00 44 (0)203 137 0112 Email: info@kerrytaylorauctions.com

Purchasers will be charged a premium rate of 25% up to £50,000 on the hammer price and 20% above. The premium is subject to VAT at the prevailing rate. See page 73 for details.

Sale number: KT022

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Front cover: lot 81 Frontispiece: lot 245 Back cover: lot 202

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Passion for Fashion Auction Tuesday 9th December 2014 at 2pm

Venue 249-253 Long Lane London SE1 4PR See map on inside back cover

Exhibition Sunday 7th December - 12 noon to 4pm Monday 8th December - 9am to 5.30pm Tuesday 9th December - 9am to 11am

ACCESSORIES & LUXURY BRANDS Please note all lots bearing ∆ symbol require a CITES licence for export outside of the EU, which we are happy to assist with. See page 73 for more information.

1 An Hermès cream ostrich leather Collier de Chien belt, 1990s, maximum circumference 77cm, 30in £450 - 600 2 An Hermès green leather and canvas Bolide bag, probably 1990s, stamped to the interior, with padlock and fob and additional shoulder strap, 36cm, 14in £600 - 1000

3∆ A rare and early Hermès golden tan crocodile ‘368’ bag, 1930s, crocodylus porosus, stamped in gold to the interior ‘Hermès-Paris, 24 Fg St Honore’, with silvered circular button clasp engraved ‘VSC’, with rigid semi-circular handles, lined in tan leather, 21cm, 8 ¼in long £1000 - 1500 4 An Hermès tan courcheval leather Ile de Shiki bag, stamped to interior, with elephant charm, single pocket to interior, 17cm, 10 ½in £250 - 400 3

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5 An Hermès black toga leather Birkin, 2003, blind stamp G, leather fob with two keys, palladium hardware, padlock; with flannel storage bag, plastic rain cover and original box, 40cm,15 ¾in long £6000 - 10000

6 A large group of sunglasses, 1980s-90s, Cutler & Gross pair with purple tinted lenses and eleven pairs of customised Linda Farrows sunglasses (qty) £300 - 500 7∆ Three Yves Saint Laurent crocodile and snakeskin handbags, late 1960s, two stamped ‘Yves Saint Laurent’ to the interior, of black and red crocodile (crocodylus porosus) and green snakeskin each with finger or belt loop to upper corner, 15cm, 6in wide (3) £600 - 900 8 A Jean Paul Gaultier converse trainer inspired holdall, circa 2000, with crisscross lacing to the pockets, 56cm, 22in long £250 - 350

9 A Louis Vuitton trunk, late 19th century, with Damier canvas covering, large internal trade labels with European royal warrants and medaille d’or of 1889, the locks and hinges painted black, with a lift out tray, wooden banding and brass studs; 49 by 49 by 75cm, 19 by 19 by 29 ½ in; and a non-matching Vuitton lift-out tray (2)

The Damier canvas was first introduced in 1888. £1000 - 1500 10 ∆ A Gucci brown crocodile handbag, 1960s, crocodylus porosus, stamped ‘Gucci’ in gold to the interior and with suit of armour tag to zip, with gilded sliding clasp, kid interior, 23cm, 9in long £300 - 500

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11 An Hermès tri-colour Kelly bag, probably 1990s, stamped Hermès Paris Made in France, of red, tan and bottle-green leather, with gilt hardware and detachable shoulder strap, 29cm, 11 ½in £1000 - 1500 12 Two Hermès belts, one of tan leather with a Kelly/Birkin bag-style clasp, the other black with square gilt rivets, both in original boxes (4) £200 - 300 13 An Hermès green leather pochette, stamped under flap, with H clasp, lined in canvas, 29cm, 11 ½in £400 - 600 14 A Chanel quilted navy leather bag, stamped to interior, with chain strap, burgundy interior with pocket, 19cm, 7 ½in £200 - 300

15 A Chanel tweed suit, 2003, labelled and size 42 to skirt, the jacket with detachable striped blouse, slim skirt with zip front; together with a matching striped sleeveless blouse with camelia corsage, chest 92cm, 36in, waist 76cm, 30in (4) £200 - 300

18 A Chanel wool and printed silk ensemble, 2000, labelled, comprising: black wool jacket and skirt, both lined in colourful printed chiffon; matching printed chiffon bodice and alternative silk skirt, chest 92cm, 36in, waist 71cm, 28in (4) £200 - 300

16 A matching Chanel tweed double flap bag, 2003, stamped to interior, double chain strap, gilt hardware, white leather interior, 25cm, 10in £400 - 600

19 A Chanel tweed ensemble, 2001, labelled, the beige tweed with orange, pink and blue stripes, comprising knee-length coat and trousers, chest 86cm, 34in, waist 72cm, 28in (2) £200 - 300

17 An Hermès black suede miniature Kelly bag, probably 1990s, stamped Hermès Paris Made in France, with detachable shoulder strap, 20cm, 8in £800 - 1200

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20 A matching Chanel tweed handbag, 2001, stamped to interior, of beige tweed with orange, pink and blue stripes, with short chain handle and detachable beige leather shoulder strap, 27cm, 10 ½in £300 - 500

21 A Chanel leather and chain belt, stamped Chanel, buckle with CC logo, 69cm, 27in long £200 - 300 22 A Chanel pink leather double flap bag, stamped to interior, double chain strap, gilt hardware, slim zip pocket underside of flap, 25cm, 10in; with Chanel box and dustbag (3) £1000 - 1500 23 A Chanel quilted navy leather bag, stamped to interior, chain strap, burgundy leather interior with zip pocket, 25cm, 10in £600 - 1000 24 A Chanel black leather tote bag, label to lining, with beige diamond stitch detail, large pocket to rear, 33cm, 13in £300 - 500

25 A pair of Chanel sunglasses, 1991, the upper frames applied with traditional leather threaded gilt linked chains; in fitted case; and a quilted leather Chanel spectacle case (3) £150 - 200 26 A Chanel ski helmet, with silver finish, CC logo to front and ‘Chanel’ in white letters to the back, 28cm, 11in long £100 - 150 27 A Chanel soft leather handbag with camelia motif, 1990s, with authentication card, 25cm, 10in long £250 - 350 28 A Chanel orange and white tweed ensemble, 2001, labelled, comprising sleeveless bodice, slim skirt with pink knitted waistband and trousers, all with pearl buttons stamped ‘Chanel’, together with a matching corsage, bust 92cm, 36in, trouser waist 72cm, 28in (4) £300 - 500 29 A matching Chanel orange and white tweed handbag, 2001, stamped to interior, edged and lined in white leather, double chain handle, 23cm, 9in £400 - 600

30 A Chanel pink tweed coat and jacket, 2000s, labelled, the coat with asymmetric fastening and CC buttons, with a matching tweed hat and flared pink wool skirt, coat chest 92cm, 36in, skirt waist 76cm, 30in (4) £300 - 500

31 A Chanel black and cream tweed suit, 2003, labelled, the wool woven with black and white sequins, black braid edging to jacket, chest 92cm, 36in, waist 76cm, 30in (2) £200 - 300

32 A fine Robert Goosens for Chanel gilt filigree collar necklace, circa 1960, signed on the reverse, formed from renaissance style scrollwork incorporating coiling mythical beasts, the central medallion with large baroque pearl pendant, 47cm, 18 ½in long £1000 - 1500 33 A fine Robert Goosens for Chanel matching gilt filigree belt, circa 1960, signed on the reverse, the buckle of coiled dragon-like forms in pursuit of a flaming pearl, the strap formed from strapwork plaques, 87cm, 34in long £500 - 800 33A ∆ An Hermès black crocodile 'Palermo' shoulder bag, late 1960s, crocodylus porosus, stamped in gold to the interior 'Hermes Paris', with gilt metal lifter clasp, 28cm, 11in £800 - 1,200

34 A Chanel tweed ensemble, 2007, labelled, the black ground with blue, red, yellow and white check, comprising short-sleeved coat and knee-length skirt, both trimmed with coloured stones, with a black sleeveless bodice, chest 92cm, 36in, waist 76cm, 30in (3) £300 - 500 35 A Chanel couture yellow tweed suit, late 1960s-early 1970s, labelled to the skirt only and numbered 55601, the jacket lined in quilted yellow silk, gilt CC buttons, pleated A-line skirt, chest 97cm, 38in, waist 66cm, 26in (2) £450 - 600

37 A Chanel couture navy wool suit, 1992, labelled and numbered 70129, with large gilt metal basket-weave buttons, navy woven leather braid borders, gilt chain to jacket, the slim skirt with zip to rear kick-split, chest 86cm, 34in, waist 74cm, 29in (2) £500 - 900

36 A Gucci tan suede handbag, late 1960s, with Gucci stamp to the leather interior, complete with hand mirror, with ‘rusty mandarin’ rhodoid handle and clasp, 23cm, 9in long £200 - 300

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38 A Christian Dior ‘Miss Dior’ leopard print bag, stamped Christian Dior Paris inside, with detachable shoulder strap, 17cm, 6 ½in; together with a pair of matching Dior slingbacks, size 37 (3) £250 - 350

FASHION 1700s-2000s 39 A pair of frame-knitted salmon-pink silk stockings, English or French, 1750-70, with decorative clocks worked in ivory silk with sprigs, roses and crowns, striped upper edge, 64cm, 25in (2)

42 A miniature topper, the shape 1820s, but probably 1900, 14cm, 5 ½in high £100 - 150

See Victoria & Albert Museum accession T.34&A-1969 for a very similar pair. £1000 - 1500

43 A gentleman’s dark brown beaver stovepipe hat, circa 1850, stamped to the silk interior in gold ‘Biscans, Biziers’, with flat brim, gros-grain ribbon band, tall slightly fluted shape, 20cm, 8in high in original shaped card case (2) £600 - 900

40 A pair of frame-knitted green silk stockings, English or French, 1750-70, the ivory clocks edged with diapered bands and pots of blooms, striped upper edge, 64cm, 25in (2) £800 - 1200

44 An embroidered stomacher, circa 1700, the salmon pink ground embroidered in metal threads and metal strip with large central pineapple amid strapwork, with multiple rows of internal boning, 32cm, 12 ½in long £600 - 1000 41

41 ‡ A tall bicorne hat, circa 1800, of black beaver trimmed with ribbon braid and later black and yellow bows down the front, one remaining metal tassel to one side, 38cm, 15in tall; together with a printed yellow and black striped satin ‘Incroyables’ outfit, late 19th century but with late 18th century cut steel and copper buttons, with typical high angular collar and revers, lined in early 19th century sage green dress crêpe to the upper jacket and in golden brown taffeta to the tails, linen lines the sleeves, with matching long striped breeches with fall-front, lined in cotton (3)

Provenance: The suit was purchased by the vendor’s mother at an auction in Pietermaritzburg, South Africa in 1952. It was displayed at the Durban Museum and Art Gallery from 1977 to the 1990s and was believed to be a late 1790s ensemble. £1000 - 1500

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45 An embroidered court coat, French or Spanish 1790s but altered in the late 20th century, of voided black velvet, embroidered with floral naturalist flowers and lace effects with tulle edgings, chest 86cm, 34in £600 - 1000 46 A pair of green satin and pink silk ladies shoes, Bavaria, Germany, circa 1780, the uppers with cutwork revealing pink failled ‘butterflies’ edged in printed pink ruffled silk ribbon, white leather heels, lined in white kid, one heel with handwritten German annotations, ‘ball schuhe meiner Großmutter mütterlicher sets der Frei-Frau von Seckendorff geb. Gräfin Zedtwitz Feilitzsch Ritten?’ ‘ball shoes of my maternal grandmother the baroness of Seckendorff born countess Zedtwitz Feilitzsch Ritten…)’, 24cm, 9 ½in long (2) £800 - 1200

47 A pair of emerald green satin and black leather shoes, circa 1780, the toes adorned with graduated cut-work ‘butterflies’ with white silk embroidered details, shaped white leather heels, 23cm, 9in long (2) £800 - 1200

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48 A tamboured net dress, circa 1825, embroidered in chain stitch with floral sprigs, the hem appliquéd with large silk vine leaves, three dimensional grapes, rouleau edging, satin piping to the bodice, bust approx 71cm, 28in £600 - 900 49 A gentleman’s 18th century style court livery, mid 19th century, comprising: dark brown wool tailcoat with quilted ivory silk chest panels, matching breeches with cut steel buttons, ivory silk waistcoat with floral embroidery, and a bicorne hat, chest 97cm, 38in (qty) £500 - 800

50 A rare pair of ‘Marlborough bucket’ boots, English, 1670-1712, of black leather with square toes, stacked heels, rigid legs with centre-front seam and large ‘bucket’ shaped thigh guards, 79cm, 31in high (2) £2000 - 3000

51 A pair of yellow leather ladies shoes with matching pattens, late 1790s, the shoes with pointed toes, Italian heels, ribbon bindings; the black pattens with cutwork of yellow leather ‘butterflies’, with coiled spring loops for placing round the heels, 25cm, 9 ¾in long (4) £600 - 1000

52 A rare and early Jeanne Lanvin orientalist brocade evening coat, 1915, believed to have been exhibited in the French Pavillion of the Panama Pacific International Exposition, San Francisco, 1915, the label embroidered and dated ‘Octobre 1915’ and with indistinct blue monogram stamp SFE?, the Ottoman inspired brocade with gold, green and blue palmettes on a black ground, the skirt formed from curved panels of gold lamé forming points at the sides and trimmed with gold lace and green ribbon rosettes, broad sailor-collar, lined in Chinese-yellow satin, fastened by hooks and eyes, of loose-cut, the chest 117cm, 46in; together with an exhibition catalogue ‘The French Pavillion and its Contents’ (2)

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This extremely rare and early coat reflects Lanvin’s fascination with antique, exotic fabrics. The angular sailor-shaped collar and irregular hem are typical of the teens fashions which were to some degree influenced by military and naval styles as seen in WWI. The Exhibition catalogue shows two large rooms - 18 and 19 devoted to French fashion, but unfortunately it goes into little detail of the individual exhibits. In the following lot - a special exhibition fashion guide printed by Conde Nast p7 states ‘Our Elegantes have sallied forth once more, attired in those graceful Turkish mantles called ‘Cafetans’ made of soft velvet or dark cloth falling in long, straight, simple folds’. £10000 - 15000 53 A Condé Nast ‘Portfolio of Paris Styles’, Ltd Edition, American edition for the Panama Pacific International Exposition, in San Francisco, 1915, with black and white striped boards, illustrations by Lepape, and others detailing the leading French couturiers models of the day, 26 by 20cm £200 - 300

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54 Lucile studio sketches, 1915, comprising: ‘Baby Mine’, a lime green robe de style tiered summer dress with lime bows and ribbons; and a multicoloured wide robe de style costume with plumed headdress, 36 ½ by 19cm (3)

The ‘Baby Mine’ tiered summer dress with lime bows and ribbons was modelled July 1915 in ‘Fashion’s Passing Show’ - a charity fundraiser in Newport, USA and was photographed for ‘Harper’s Bazaar’, September 1915. The dress with plumed headdress was worn on stage by the actress Florence Walton in the musical ‘Hands Up on Broadway’. She was photographed wearing it for US Vogue, September 1915. We are grateful for the archive images and additional information supplied by Randy Bigham. £350 - 500 55 A Lucile studio sketch, ‘Heart’s Desire’ from the 1917 Sears Roebuck catalogue, the embroidered cream silk lace dress with pink bows, 37 by 19 ½cm

See KTA lot 65A June 2013 for sketches by the same artist for the 1917 Sears Roebuck catalogue, one of which was dated 1916. We are grateful for the archive images and additional information supplied by Randy Bigham. £200 - 300 56 Lucile studio designs, circa 1914-20, comprising: long beaded pink evening gown with pointed train, blue aigrette, signed; bright pink raincoat with pink veiled hat; orange and pink valkyrie style evening ensemble; and pink and grey day dress, pencil numbered 504, the largest 35 by 25cm (4)

We are grateful for the archive images and additional information supplied by Randy Bigham. £300 - 500 57 A Paquin couture black taffeta and velvet coat, 1890s, with indistinct narrow label stamped in gold with ‘3 Rue de la Paix, Paris’ address, the sleeves with gathered fullness at the elbow, adorned with bands of taffeta and velvet, lined in ivory satin, chest approx 81cm, 32in £300 - 500

58 A rare Madeleine & Madeleine brocaded orientalist tunic, circa 1915, with narrow ivory woven label for Champs-Elysees, Paris, of shot gold and pink organza satin brocaded with gold oriental figures, edged in gold braid, lined in rose chiffon, side slits adorned with long pink silk tassels, bust approx 92cm, 36in £400 - 600 59 A Madame Handley Seymour beaded and floral appliquéd opera coat, mid 1920s, the cloth of gold ground with chintz applications of birds and flowers, detachable later added brown fur collar, chest 112cm, 44in

Provenance: Countess Granville, nee Lady Rose Bowes-Lyon. Handley Seymour made the 1923 bridal gown of her sister Lady Elizabeth Bowes-Lyon who married Prince Albert, Duke of York, later King George VI. £500 - 700

60 An art-deco embroidered orange velvet evening coat, circa 1928, embroidered overall in peach silks and metal threads with Delaunay-esque geometric patterns, lined in buff velvet, chest 107cm, 42in £400 - 600 61 A Bradley’s midnight blue and gold brocaded opera coat, circa 1925-8, labelled, edged in brown fur and lined in midnight blue satin, chest 142cm, 56in £500 - 800

63 A velvet and lamé opera cape, mid 1920s, of royal blue and black velvet interspersed with art-deco brocade bands in primary colours, lined in gold lamé, lead weighted hem £250 - 400 64 A tiered bugle beaded evening gown, circa 1929, covered in a shimmer of black bugle beads with green and silver beaded leaves to one side, studded with green pastes, the skirt tiers with transparent tulle edges, bust 81cm, 32in

Jeanne Lanvin designed a very similar dress to this one in 1929. A photograph dated August 1929 is held in the Archives de Paris. £600 - 1000

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62 A fine beaded and sequined evening jacket, attributed to Margaine Lacroix, mid 1920s, the gold lamé ground covered with beaded and sequined oriental figures in landscapes in predominantly gold, yellow, pink and green, lined in brown velvet, bust 41in, 104cm

65 A good beaded evening coat, possibly Margaine Lacroix, late 1920s, the cloth of gold ground embossed with floral repeats and elaborately beaded to the front and back panels with flowers in shades of pink, blue and green, chest approx 92cm, 36in £600 - 800

For similar coats by Margaine Lacroix with Egyptian and chinoiserie motifs see the Musee Palais Galliera catalogue ‘Les Années Folles 1919-1929’. £2000 - 3000

66 A Vitaldi Babani embroidered black satin bolero jacket, late 1920s, printed label, embroidered in pink and gold chain stitch with Persian-style peacocks and zigzag roundel bands, with wide capelet-like sleeves, button to fasten £350 - 500 64 13

67 A Jeanne Lanvin couture sequined black taffeta evening gown, Summer, 1938, large woven label and pencil numbered 47997, the bodice with criss-crossed bands of pink and silver braid forming a knot to the front and embellished with large white beads held in place with tiny silver sequins, bust 86cm, 34in £800 - 1000 68 A Paquin stencilled black satin evening jacket, late 1930s, bearing simple ivory Paquin Paris-London label, printed with firebirds in green and gold with domed selfcovered buttons, high angular lapels and deep graduated peplum, bust 92cm, 36in £400 - 600

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69 A Chanel couture bias-cut black lace dress, circa 1929-30, labelled and numbered 12803, the front neck flounce forming a capelet over the scooped back, with crisscross arching bands at the waist, integral belt, bust 92cm, 36in £3000 - 5000 70 A Worth-labelled black lace and ciré satin evening gown with matching bolero, early 1930s, Worth label to the neck area of the jacket, numbered 76519, with satin leaf motif appliqués to the waist and hem, satin facings to the jacket, bust 86-92cm, 34-36in; with a taffeta petticoat (3) £250 - 350 71 A gold stencilled ivory damask satin evening gown and fur edged jacket, late 1930s, the bias-cut gown with T-straps to the back, the jacket with top-stitched detailing to the collar and front opening, bust approx 86-92cm, 34-36in (2) £200 - 300

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72 British Vogue magazines, 1930s, comprising 15 issues 1936; 9 issues 1937; 10 issues 1939 and 17 issues 1938 (51) £3000 - 5000 73 British Vogue magazines, 1940s, comprising 3 issues 1943; 7 issues 1944; 6 issues 1945; 6 issues 1946; 7 issues 1947; 7 issues 1948 and 10 issues 1949 (46) £600 - 1000 74 British Vogue magazines, 1950s, comprising 8 issues 1950; 8 issues 1951; 10 issues 1952; 6 issues 1953; 2 issues 1954; 4 issues 1955 and 4 issues 1956 (42) £600 - 800 75 A pair of Ferragamo pink and blue leather sandals, circa 1940, stamped Ferragamo’s and Saks Fifth Avenue to the insoles, with pale blue and pink woven and tied raffia uppers, 21cm, 8 ½in long, approx size 4 (2) £250 - 350

76 A rare Schiaparelli knitted blue wool swimsuit, 1930s, labelled ‘Costume dé Bain par Schiaparelli, Patd in France, US patent app’d for’, of herring-bone knit with ties to the back, bust approx 86cm, 34in £600 - 1000

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77 A couture ivory chiffon presentation/bridal gown, circa 1936, with chiffon rosette blooms edging the rear shoulders and back, scalloped edge to inner silk bodice lining, the skirt falling in tousled raw-edged tiers, bust approx 76cm, 30in £500 - 900 78 A Balenciaga couture pale pink damask blouse, 1944, white Eisa label, with buttonfastened midriff, matching shaped cummerbund sash, bust approx 97cm, 38in (2) £200 - 300 79 A Mainbocher Inc beige silk faille cocktail dress, late 1940s-early 1950s, labelled, with ruched and pleated bodice and large bow to skirt, bust 102cm, 40in, waist 76cm, 30in £250 - 350

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80 A Jeanne Lanvin couture bias cut black velvet evening gown, Autumn-Winter, 193334, large woven dated label, the ribbed, top-stitched silver lamé circular sleeves fold back and button on to each shoulder, bust approx 85cm, 34in £800 - 1200 81 A fine and rare Elsa Schiaparelli embroidered coat, Zodiac collection, Autumn-Winter, 1938-39, Paris labelled and numbered 64202, of black wool, the pink velvet rococo inspired pockets with Lesage embroidered gilt metal strips, the centre with violet sequined female profiles edged in gilt strip, and sprigged with gold lustre edged Sevres porcelain flowers, with seven bronze-effect rolled porcelain buttons, lightly padded shoulders, lined in black silk, bust 86cm, 34in

Schiaparelli’s Zodiac collection not only included astrological references but also took inspiration from the palace of Versailles and the reign of Louis XV. Schiaparelli specially commissioned these porcelain blooms from the Sevres factory in Vincennes. The pink, gold, mauve tones are typical of the Sevres factory’s colour palette. £30000 - 50000 80

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84 Wallis Simpson’s pale rose-pink chiffon and black Chantilly lace trimmed nightdress, late 1940s-mid 1950s, bias cut with halterneck ties, low back, bust approx 87cm, 32in

Provenance: ex lot 88, KTA Auction 17.03.11 £400 - 600 85 A rare Schiaparelli pink damask evening coat, 1944, printed black on white Paris label, the silk woven with Tudor roses and rampant gothic-style beasts, with shirred detailing to the front bodice and sleeves overlaid and outlined in pink cord with a gold thread and blue silk lattice, edged in gold thread toggles, matching tie belt with gold thread tassels, silk covered disc buttons edged in gilt metal laurel wreath bands, lined in violet silk, bust 86cm, 34in

An identical coat was owned by Marlene Dietrich and forms part of the SMB Kunstbibliothek Staatliche Museen, Berlin. She spent several months touring North Africa and Italy on a morale boosting tour for the USA and she chose to wear this model over a floral silk dress when inspecting the troops on November 30th, 1944, when she was photographed by Bettman. Upon her return to Paris in November 1944 she chose to wear the coat for an atmospheric promotional photoshoot with Lee Miller. £10000 - 15000

82 A black crêpe dress with sequined collar, probably Lanvin, circa 1946, un-labelled, with wide angular shoulders, blue moss crêpe collar with domed medallions of layered sequins and coloured pastes, with apron-like draped panel to the front skirt with integral pockets, bust 86cm, 34in

A similar dress by Lanvin was photographed and reproduced in ‘Femme Chic’, Hiver, 1 946 p18. £500 - 700

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83 A Balenciaga black silk crêpe doublebreasted dinner dress, 1942, white on black Eisa label, with apron-like overskirt which falls in drapes at the sides which form a peplum at the back, fastened by hooks and eyes, bust 92cm, 36in, waist 71cm, 28in £1000 - 1500

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88 A Madame Grès taupe draped silk jersey cocktail dress, circa 1945, un-labelled, the narrow pleats following the curves of the breast on the bodice and wrapping around the torso to meet at the centre back waist, vertical pleats cascade down the skirt, padded shoulders, bust approx 81cm, 32in

A gown of a similar construction was included in the Musée Bourdelle Exhibition, catalogue no 16, p35. £700 - 1000 89 A Maison Worth ivory damask gown, ‘Colombe d’or’, 1949, labelled, the fabric by Rémond, with deep graduated basque, pleated hem, bust 86cm, 34in, waist 61cm, 24in

The fashion sketch for this gown is in the Victoria & Albert Museum archive. £200 - 300 90 A black satin ball gown, probably Madame Grès, circa 1946, un-labelled, the fitted bodice with deep armholes outlined in curved edging bands of black, pink and grey satin, the hem similarly edged, deep scooped back and narrow ties to rear neck, bust 86-92cm, 34-36in, waist 66cm, 26in

A voluminous Madame Grès black satin gown with striped banding to the hem was illustrated in ‘Femina’ November 1946 p215 £400 - 600 86

86 A Lucien Lelong black crêpe and fringed cellophane evening gown, circa 1934, brown on beige woven satin label, the bodice front and sleeves with fringed tasseled bands of twinkling black cellophane, the back bodice with couched cellophane stripes, bust approx 92cm, 36in (2) £700 - 1000 87 An unusual feather capelet, late 1940s or early 1950s, the goose down panels forming a sculpted shape, with simple arm slits, lined in grey rayon £400 - 600

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93 A Madame Grès couture black taffeta cocktail dress, circa 1949, labelled, with boned bodice with notched décolleté finished in a bow, the skirt finely pleated into the curve of one hip, bust approx 86cm, 34in £700 - 1000 94 An Antonio Castillo golden-yellow satin ball gown, 1951, labelled and also with Bergdorf Goodman dated label to the waist with client details, the strapless boned bodice and full skirt overlaid with delicate bands of gold lace, with integral layered tulle petticoats, bust 92cm, 36in, waist 66in, 26in

91 A Balenciaga couture ivory guipure and tulle bridal gown, 1952, Eisa labelled, the front and back of the bodice each cut in one with the sleeves with godets inserted at the under-arms, narrow matching belt, the long trained tulle skirt gathered into the dripped waistline of the bodice, with matching tulle and taffeta petticoat, veil with wax orange blossom roundel, bust 92cm, 36in, waist 61cm, 24in (4) £4000 - 6000

92 A Gaston couture black sequined evening gown, circa 1945, labelled, with ruched pleats emanating from broad sequined waistband, stripes of sequins to the skirt front and full sleeves, bust 92cm, 36in £250 - 350

Spanish-born Antonio Castillo designed for Elizabeth Arden between 1945 and 1950. In 1950 he was tempted away as head designer of the auspicious house of Lanvin in Paris. This dress bears just the Castillo name so was perhaps designed independently by him for Bergdorf as part of a deal agreed before he joined Lanvin. £500 - 700 95 A Balenciaga couture black satin dinner dress, 1952, black Eisa label, with crossover bodice culminating in a large bow which hooks onto the right hip, over pencil skirt, bust approx 92cm, 36in, waist 71cm, 28in £400 - 600

97 A Christian Dior couture black grosgrain silk bodice and jacket, early 1950s, labelled and numbered 11657, 11658, the bodice with typical stretch-tulle corset, button fronted with broad shoulder strap and pointed panel to one side only, the matching jacket with fold-over rever to one side, button and prestud fastened, bust 92cm, 36in (2) £1500 - 2500

96 An Yves Saint Laurent for Dior black taffeta cocktail dress, probably Patron Originale, Spring-Summer, 1959, un-labelled, with bouffant graduated puff-ball skirt, revealing tiers of Chantilly lace to the hem, bow with self-fringing to the waist, bust 86cm, 34in, waist 61cm, 24in £800 - 1200

98 A Balenciaga couture black velvet and silk evening gown, circa 1950, Paris labelled and numbered 29539, the bodice and apron-like over-skirt cut in one with faux pocket flaps to the hips, black faille facings and under-dress, bust approx 86cm, 34in, waist approx 66cm, 26in £600 - 1000 99 A Michel Goma couture grey and white polka dot silk dress and optional day bodice, late 1950s, Paris label, the sleeveless dress with skirt pleats forming from pointed gores centre front and back, matching belt, the over-bodice continuing the pointed seam lines, bust 86cm, 34in, waist 56cm, 22in (3)

Provenance: Formerly from the Elizabeth Parke Firestone collection £350 - 500

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100 A Pierre Balmain couture chiné taffeta cocktail ensemble, circa 1957, labelled and with indistinct pencilled Atelier and number details, the coat numbered 101385, the boned strapless bodice with integral corset, the acid-green velvet belt with bow threads through the broad skirt pleats, layered tulle petticoats, with matching short sleeved tent-coat, bust approx 86cm, 34in, waist 61cm, 24in (2) £700 - 1000 101 A Pierre Balmain couture black wool crêpe day/dinner dress, circa 1950, labelled and numbered 4869, double-breasted bauble button fastening, faille revers, pockets inserted into peplum at hips, bust 92cm, 36in £300 - 400

102 A pink draped chiffon couture cocktail dress, attributed to Jean Dessès, early 1950s, un-labelled, in shades of pink with gathered puff-ball hem, floating panel from one shoulder, integral corset and suspenders, bust approx 81cm, 32in, waist 56cm, 22in £700 - 1000

100 label

103 A black beaded tulle couture evening gown, early 1950s, bearing only indistinct hand written muslin tag, with boned halter-neck bodice, figure-hugging skirt culminating in an explosion of black tulle at the hem, bust approx 86cm, 34in, waist 61cm, 24in £400 - 600

104 An unusual Jean Louis couture tartan mohair ensemble, early 1960s, labelled, comprising: cocktail dress, the bodice and skirt appliquéd with embroidered leaves in autumnal shades, wine satin sash to the waist, with matching tent coat and shawl, dress bust approx 86cm, 34in (3) £1200 - 1800 105 A Norman Hartnell couture green taffeta ball gown, early 1950s, green on ivory woven label, with strapless boned bodice, the dress caught in a spiral of graduated pleats with flounced graduated hem and studded overall with copper and silver facetted beads in varying sizes, bust 86cm, 34in, waist 61cm, 24in £300 - 500 106 A Fortuny stencilled cotton bodice, 1950s, labelled ‘Mariano Fortuny Venise, 509 Madison Avenue, New York N.Y’, with overall silver and green foliate repeat print, self covered bauble buttons, bust 102cm, 40in

This bodice was made after the death of Mariano Fortuny in 1949, when the firm was purchased by his friend Elsie Lee McNeill, later Countess Gozzi. £200 - 300 107 A Balenciaga couture black bouclé wool ‘sack’ dress, circa 1962, Paris labelled and numbered 54478, of voluminous cut with diagonal front pockets, single button to chest, bust approx 112cm, 44in

Provenance: ex part lot 116 Sotheby’s auction of the S.A.R Princess Lilian of Belgium collection, 19.05.2003. £400 - 600 108 A Balenciaga couture black chenille lace cocktail dress, Autumn-Winter, 1963, Paris labelled and numbered 6623, with two ribbon bows to the chest, bust 92cm, 36in

This dress could also be purchased with an optional train - see website for image. £450 - 600 109 An elaborately beaded couture evening jacket, possibly Balmain, early 1950s, the ivory wool ground cut and embroidered to shape in just two panels joined front and back, the couched gilt thread strapwork filled with rhinestones and pearl beads, bust approx 92cm, 36in £500 - 800

104

110 An Yves Saint Laurent for Christian Dior black velvet evening coat, Autumn-Winter, 1959, labelled and indistinctly numbered, of voluminous cut, lined in cream silk with large disc buttons, chest approx 107cm, 42in £350 - 500 111 A Givenchy couture blue bouclé wool suit, circa 1960, Paris labelled and numbered 24938, comprising a buttoned jacket with tie belt to the front, with loose rear waist, matching skirt, chest approx 86cm, 35in, waist 66cm, 26in (2) £300 - 500

112 A Marc Bohan for Christian Dior couture ‘Rome’ navy wool suit, Spring-Summer, 1965, Paris labelled and numbered 126324, of navy Nattier bouclé wool, the pleated skirt with leather belt, chest 97cm, 38in, waist 61cm, 24in (2)

An identical suit is pictured in L’Officiel 1965, March issue p20. £350 - 500

114

113

113 A fine Yves Saint Laurent sequined and fringed mini dress, Spring-Summer, 1969, un-labelled, the white Bianchini Ferier organza ground smothered in pearlised sequins with triangular pink and yellow sequins forming flowerheads by Lanel, interspersed with fringes of glass beads, integral ivory silk satin backed crêpe petticoat, bust 86cm, 34in

114 A Lanvin-Castillo couture black tulle baby doll cocktail dress, circa 1958-60, bearing both Lanvin and Castillo labels and numbered in pencil 48128, with tulle rosette to bodice and double ruffles to the hem, bust approx 81cm, 32in £500 - 800

115 A Lanvin-Castillo red moiré ottoman silk swing jacket, circa 1960, bearing Lanvin Paris and Castillo labels, of voluminous cut with single button to neck, vented pockets inset into wide skirts £400 - 600 116 A Jeanne Lanvin couture black sequined wool evening coat, 1960s, large woven label, adorned with a lattice of sequins and beads, black silk lining, chest 102cm, 40in

Saint Laurent liked this style of beaded, fringed dress, making the first examples in Spring/Summer 1969 and repeating these versions in 1975 and again in 1994. For a photograph of an identical 1969 model see ‘Yves Saint Laurent’, Thames and Hudson p44. £3000 - 5000

Provenance: Mrs Anne Moen Bullitt £350 - 500

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119 A Courrèges pink and white wool ensemble, Autumn-Winter, 1969, Paris labelled and numbered 5790/5712, comprising short double-faced wool tunic-style mini-dress, white rib-knit body suit with detachable turtle-neck, a white knitted hat and pink gloves hat, tunic bust 81cm, 32in (5)

An identical ensemble in green is illustrated in Vogue Italie 1969 and L’Officiel 1969 September issue. £600 - 1000

117

120

117 A Mila Schön couture embroidered silver evening gown and silver lamé coat, 1966, the coat with label, the ivory tulle dress with striped beading to the empire line bodice and hem, the ground spangled with snowflake like motifs in silver thread, bugle beads and rhinestones, bust 86cm, 34in; the matching double-breasted coat lined in white silk (2) £1200 - 1800

120 A Fontana Sisters ‘Moon Landing’ maxidress, 1969, labelled ‘Sorelle Fontana, Roma, Export’, composed from strips of yellow and white linen appliquéd with shaped plastic plaques outlined in coloured seed beads, lined in ivory silk, bust 86cm, 34in

A similar model is illustrated full page on ‘Lo Stile dell’Alta Moda Italiana’ by the Fondazione Micol Fontana p110. £400 - 600

118 Four pairs of ‘moon boot’ suede spats, mid 1960s, designed to fit over a normal shoe with elasticated stirrup straps and back zips, in lilac with mauve and blue roundels; dark brown with brown leather roundels; pale blue with gold front stripes; and brown and tan with orange front stripes (8) £350 - 500

121 A Pierre Cardin black leather shoulder bag, 1960s, stamped to the interior, the asymmetric flap with modernist metal plaque, 25 ½cm, 10in long £200 - 300

119 26

124

122 A Courrèges ivory wool suit and coat, circa 1970, Paris labelled and A, the panelled short jacket and coat with radiating topstitched seams, white buttons with tab closures, A-line skirt, bust 97cm, 38in, waist 71cm, 28in (3) £400 - 600

125

123 An André Courrèges black knitted jersey mini dress, circa 1970, Hyperbole labelled, Paris and numbered 108293 and B, of stretchy black knit with large vinyl logo to central medallion, two pockets, painted poppers to the front skirt, bust 86cm, 34in £400 - 600

126 A Sylvia Ayton/Zandra Rhodes satin dress with printed sleeves, circa 1968-70, black on white printed label, with sharp collar, the sleeves with ‘Mr Man’ and neon bulb patterns, bust 92cm, 36in; together with a Zandra Rhodes yellow silk scarf (2) £250 - 400

124 A Sylvia Ayton/Zandra Rhodes ‘All Over Neon’ pop-art style printed nylon jersey dress, 1966-8, black on white printed label, with motifs including futuristic cars, neon lights, and ‘Mr Man’, bust 92cm, 36in

127 A rare and early Sylvia Ayton/Zandra Rhodes printed crêpe mini-dress, 1966-8, labelled Sylvia Ayton, Zandra Rhodes, size 10, printed in pink and grey with Zandra’s ‘Mr Man’ designs, bust 81cm, 32in £300 - 500

Provenance: lots 124 to 128 Jackie Remfry who worked as an assistant to Zandra Rhodes between 1965 (after Zandra’s graduation from the Royal College in 1964) to 1970 at the St Stephens Gardens and Porchester Road studios. She was partly paid in clothing at the time as Zandra struggled to establish her business. £350 - 500 125 A Sylvia Ayton/Zandra Rhodes ‘Lipstick’ print dress, 1968-70, printed black on white label, cream raw silk, with sharp collar, A-line skirt, bust 86cm, 34in £400 - 600

124 detail

128 A Zandra Rhodes/Sylvia Ayton printed silk jacket with gothic sleeves, 1970, The Fulham Road Clothes Shop Ltd printed satin label, with Zandra Rhodes print in shades of grey, bust 86cm, 34in; together with three printed silk scarves (4)

Jackie wore this jacket to the first Isle of Wight festival in 1970 and was spotted by Sarah Kent, art critic of ‘Time Out’. £350 - 500

125 label 27

129 label

129 A Paco Rabanne chain-linked armour-plate mini dress, 1967, with printed black metal tag to the interior, the dress formed from square metal plates which become rectangular, bust 86cm, 34in £10000 - 18000

129

130 label

130 A Paco Rabanne chain linked armour-plated tunic, 1967, with paper label, with square plates to the bodice adorned with metal studs, rectangular plates to the skirt and irregular hem, bust approx 86cm 34in £6000 - 8000

130

131 A rare Beatle’s Apple Boutique man’s figured burgundy satin jacket designed by ‘The Fool’, late 1960s, with colourful woven apple motif label and ‘Designed by the Fool’, the satin woven with red lurex roses, prestud fastened with Nehru collar and flared cuffs, tie belt, chest 102cm, 40in (2)

‘The Fool’ were a mainly Dutch collective of artists, designers and musicians, who not only designed the clothes inside the Apple boutique, but also its highly colourful psychedelic exterior. They consisted of Marijke Koger (the leader of the group), Simon Posthuma, Yosha Leeger and Englishman Barry Finch - Leeger’s fiancé. Unfortunately, they were also put in charge of managing the store, which proved something of a financial disaster. It opened on 94 Baker Street in December 1967 and closed just 7 months later in July 1968, having lost more than £100,000 in trading during that time. The night before the shop closed The Beatles selected pieces for themselves to wear and the next morning opened the doors to crowds massing outside and in true hippie spirit, told the waiting public to just help themselves to the rest. Paul McCartney said of it ‘The nice thing was that we weren’t too fussed when it didn’t work out (...) It was great: giving the clothes to people who showed up on the day’ (The Beatles Anthology, Cassell & Co, 2000, p296). £400 - 600

131 30

133 An Ossie Clark mauve and plum moss ‘Heavenly Twins’ crêpe evening gown, 197071, printed black on white satin label and size 8, with cross-over bodice, contrasting neck-ties and spiralling bands up the narrow sleeves, bust approx 81cm, 32in

Celia Birtwell was painted by David Hockney wearing the black and scarlet version of this dress in the double portrait with her husband Ossie Clark, ‘Mr & Mrs Clark & Percy’. £300 - 500 134 A Campbell’s ‘Souper’ paper dress, American, 1968, printed boldly with the iconic Andy Warhol design, with internal stick-on care label, bust 92cm, 36in £1000 - 1500 131 label

132 A Pierre Cardin printed maxi-dress, 1969, labelled ‘Jersey Couture, designed by Pierre Cardin, Paris and London’, the synthetic jersey printed in taupe blue with abstract forms, with plain collar and medallion like futuristic insert to the bust and waistband, bust 97cm, 38in

Literature: For similar designs see ‘L’Officiel’ no 569-570, September 1969 p91 with a photograph by Roland Bianchini. Also Panorama Jardin des Modes Haute Couture Collections, Autumn-Winter, 196970, p62. £400 - 600

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136

135 A Mr Freedom blue and red velvet baseball suit, designed by Diana Crawford, 1971, pink and blue label and size 10, comprising: jacket with with red laces appliquéd with roundels, the matching trousers with diamond shaped pockets, chaps-style red panels, woven label to the rear waistband, turn-ups, bust 86cm, 34in, waist 66cm, 26in; together with the original receipt dated 22.12.71, some recent photographs of the original owner wearing the suit; and a ticket stub for the final concert of the band ‘The Family’ in Colston Hall in 1973 which was found in one of the pockets (qty)

This ensemble was purchased by our vendor when she was 15 years old. It cost £21 which she paid in two instalments. She remembers the shop as having a ‘very cool, magic atmosphere, rather a shiny and colourful world for a 15 year old living in London for the first time’. £1000 - 1500

136 A rare pair of Mr Freedom winged boots, designed by Jim O’Connor, 1970, unlabelled, of green and white leather, the wings each with four metal lacing eyelets, rubber soles, approx size 7, 26cm, 10 ¼in long (2)

Tommy Roberts’ first shop ‘Kleptomania’ opened in Kingly St (just behind Carnaby St) in 1966. It was a boutique dealing in vintage and ethnic clothing. In 1969, with his business partner Trevor Myles, he went on to open ‘Mr Freedom’ at 430 King’s Rd, which sold not only clothing but interior design/homeware. They took over the premises of ‘Hung On You’ in the King’s Rd before moving to an even bigger space on Church St, Kensington in 1970. Much of the colourful clothing and footwear was unisex. £800 - 1000

135

135 detail

135 label 31

139 detail

139 A fine Ossie Clark/Celia Birtwell embroidered evening ensemble, 1973, unlabelled but with ‘Ossie Clark’ woven into the damask lining of both pieces, the Birtwell designed posy motif embroidered in red, green and blue, the bias-cut dress with key-hole opening to front bodice and ribbon ties, short sleeves the matching jacket with scarlet and green sequined collar and shoulder panels, bust approx 81cm, 32in (2)

Provenance: Originally part of the Lady Carina Frost (nee Lady Carina Fitzalan Howard) collection, Sotheby’s, 24.11 1999, lot 200. Lady Carina (the tall, blonde daughter of the Duke of Norfolk) was ‘discovered’ walking down a London street by Ossie’s partner at Quorum, Alice Pollock, and became one of their favourite models. £1000 - 1500 139

137 An Ossie Clark/Celia Birtwell ‘Bridget’ dress, early 1970s, of navy floral printed morocain, wrap-over with padded waistband, crystal-pleated skirt, bust approx 86cm, 34in £400 - 600 138 An Ossie Clark/Celia Birtwell printed chiffon midi-dress, 1970s, Radley label and size 12, with ties to the open shoulders, flounced sleeves and double-tiered skirt in contrasting patterns, bust approx 86-92cm, 34-36in £350 - 500

140 An Ossie Clark/Celia Birtwell printed satin evening gown, 1972-3, Radley label removed, with colourful Delaware print, wrap-over bodice with ties, flounces to neckline, bust approx 86cm, 34in £450 - 600 141 A fine Ossie Clark/Celia Birtwell ‘Acapulco Gold’ printed chiffon dress, 1970, black on white printed satin label and size 10, with wrap around skirt, flounced collar and wide sleeves printed with tiny stars, bust approx 86cm, 34in

Provenance: Originally part of the Lady Carina Frost (nee Lady Carina Fitzalan Howard) collection, Sotheby’s 24.11 1999, lot 209. £800 - 1200

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148

142 An Ossie Clark/Celia Birtwell printed chiffon dress, early 1970s, Quorum labelled and size 10, with lightly padded shoulders, the skirt falling in contrasting-printed chiffon tiers, bust approx 86cm, 34in £800 - 1200

145 A matching Bill Gibb sketch for the Shell dress, pen and ink with attached fabric swatch dedicated to Georgina James and signed by Bill Gibb, 29 by 20cm in mount and frame £150 - 250

143 An Ossie Clark/Celia Birtwell printed moss crêpe dress, 1970s, Radley label and size 36, with contrasting red and white printed collar, shoulders and zigzag insert to waist and floral print to full sleeves, bust approx 86cm, 34in £350 - 500

146 A Bill Gibb black and tan suede ensemble, Autumn-Winter, 1972, labelled and size 12, the panelled jacket inset with art-deco style plush, edged in snakeskin, the matching skirt, bust 86cm, 34in, waist 61cm, 24in; together with a black moss crêpe dress with enamelled bee buttons, Autumn-Winter 1972, labelled and size 12, bust approx 8692cm, 34-36in (3) £250 - 350

144 A Bill Gibb cream Quiana jersey evening dress, Spring-Summer, 1973, labelled, with sequined shell-shaped panel to bodice, draped bat-wing sleeves and sequined flared cuffs, bust approx 86cm, 34in

Charlotte Rampling was photographed for ‘Harpers & Queen’ wearing this model, February 1973. £250 - 350

147 A similar Bill Gibb fashion sketch, AutumnWinter, 1972, pen and ink dedicated to Georgina James and inscribed ‘silver printed leather jacket with animal print skirt, A/W ‘72’ and signed by Bill Gibb, with swatch of black leather, 29 by 21cm in frame £150 - 250 148 A good Bill Gibb printed lurex hippy peasant style evening gown, 1977, labelled, with an apron of silver macramé fringes falling from the bodice, multi-layered crystal pleated skirt, Murano glass beaded and fringed cuffs to match, bust 86cm, 34in

This gown was one of the looks shown at Bill Gibb’s ground-breaking 10th anniversary fashion show at the Royal Albert Hall in 1977. See ‘Bill Gibb Fashion & Fantasy’ Iain R.Webb p57 for a photograph of the show. £500 - 700

149

149 A Thea Porter abaya/kaftan, 1970s, labelled ‘Thea Porter Couture’, of black chiffon with black satin and gold lamé edging bands to neck, hem and wide sleeves, black and gold rope-ties to waist £600 - 1000 150 A Zandra Rhodes ‘Mexican Turnaround’ print midnight blue chiffon evening gown, 1978, labelled and size 10, the bodice with coloured and iridescent foliate sequins, the skirt with mainly pink and brown print, with pink satin sash, bust approx 86cm, 34in (2) £400 - 600 151 A Zandra Rhodes ‘Mexican Turnaround’ print white organza gown, 1978, labelled to the matching tulle and satin petticoat, the flounced sleeves edged in seed pearl beads, shirred waist, with white satin sash, petticoat waist 61cm, 22in, bust approx 86cm, 34in (3) £350 - 500

156

152 A Zandra Rhodes ‘Indian Feather Sunprint’ jacket, circa 1974, labelled and size 10, of pleated purple satin printed in shades of pink and brown with crinkly ‘lettuce’ edging £200 - 300

155 A Valentino couture black sequined jumpsuit and jersey cape, late 1970s, labelled, with high neck, elastic to the trouser hems, bust 81cm, 32in (2) £350 - 500

153 An Yves Saint Laurent fuchsia pink and black striped jersey bodice and matching harem pants, circa 1980, labelled and size 38, the bodice edged in moss crêpe (2) £400 - 600

156 A good Thea Porter embroidered and printed chiffon ‘smock’ dress, 1970s, Couture labelled, of Celtic inspired but abstract patterned chiffon in pink, orange green and blues, edged in fuchsia velvet ribbons with Uzbek hand embroidered yoke and bell sleeves, bust approx 86cm, 34in £600 - 1000

154 An Yves Saint Laurent ‘gipsy’ bodice, 1977, labelled and size 36, and a black velvet YSL skirt with sequined lace trim to hem, bust 81cm, 32in, waist 56cm, 22in (2) £200 - 300

159 An opulent Bill Gibb grey Quiana jersey kaftan-like ‘Bee’ dress, Autumn-Winter, 1973, labelled, the bodice embroidered and beaded with central bee motif, the voluminous bat-wing sleeves adorned with similarly worked scrolling bands edged in lace; with matching mimosa trimmed headdress (2) £300 - 500 160 The matching Bill Gibb fashion sketch for the Bee dress, pen and ink with attached gold lace swatch, dedicated to Georgina James and inscribed ‘Wedding Dress A/W 73’ and signed by Bill Gibb, 31 by 20cm in frame £150 - 250

159 detail

157

161

157 A Thea Porter abaya/kaftan, 1970s, labelled ‘Thea Porter London’, of black damask the hem with art-deco and Islamic fabric patchwork in mainly orange, black and gold, the seams piped in gold braid and with gold braid knots to the sleeve edges £1000 - 1500

161 A Thea Porter abaya/kaftan, 1970s, labelled ‘Thea Porter Couture’, of pale pink chiffon edged in pink braid, the hem and sleeves adorned with pink glitter floral bands £600 - 1000 162 A good Bill Gibb printed chiffon smock-like evening dress, Spring-Summer, 1973, the ‘Lovat’ fabric by Susan Collier for Liberty, labelled and size 10, with oriental brocade yoke, pink cotton facings and ribbon bands, deep pockets, bust approx 86cm, 34in £300 - 500

158 An Ossie Clark/Celia Birtwell ‘Pretty Woman’ printed crêpe smock dress, mid 1970s, labelled and size 34, with ties to waist and ruffles to shoulder panels, bust 86-97cm, 34-38in £300 - 500

159 35

163 An Yves Saint Laurent ‘Le Smoking’ dinner suit, circa 1979-80, labelled and size 36, with velvet collar and cuffs, braid front edges and labels, the trousers with turnups, chest 81cm, 32in, waist 56cm, 22in; with a Rive Gauche purple silk top and scarf (4) £500 - 700 164 An Yves Saint Laurent cream and black suit, Spring-Summer, 1980, Rive Gauche labelled and size 36, the colour-block panels edged in black braid, bust 92cm, 36in, waist 61cm, 24in £250 - 350 165 An Yves Saint Laurent ivory jersey halterneck ‘goddess’ dress, circa 1980, Rive Gauche labelled and size 42, with gold lamé sash to waist, waist 61cm, 24in £450 - 600

169 A Furs Renée arctic fox jacket, 1990s, labelled, zip fastened; together with a Furs Renée cream broadtail coat, edged in fox (2) £300 - 500 170 A Furs Renée sable jacket, 1990s, labelled, chest approx 96cm, 38in £600 - 800 171 A Jean-Louis Scherrer couture shot silk evening gown, mid 1980s, labelled and numbered 006464, of shot pink and green silk taffeta, with shirred and ruched bodice, the balloon sleeves adorned with petals of pink and green silk organza, bust 86cm, 34in, waist 61cm, 24in £600 - 800

166 An Yves Saint Laurent red and white polka dot chiffon blouse and skirt, 1977, Rive Gauche labelled and size 40, with flounce to neckline and shirred waistband to skirt, with matching scarf; together with a Rive Gauche scarlet jersey halter-neck top and skirt with shirred waist, labelled and size 38 (5) £400 - 600 167 An Yves Saint Laurent printed organza evening dress, circa 1980, labelled and size 40, with tie sash belt and flounces to skirt and shoulders, bust approx 92cm, 36in £450 - 600

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163 label 36

168 An Oscar de la Renta fox fur coat, 1990s, in shades of brown, chest 107cm, 42in; together with a John Bates brown jersey evening gown, late 1970s, with brown mink collar, bust approx 92cm, 36in (2) £400 - 600

171

176 A sable coat, labelled Liska, Vienna, three quarter length, of loose-cut, lined in brown silk, chest approx 142cm, 56in £4000 - 6000

172 A Valentino mauve wool and fox fur ensemble, 1980-84, boutique and size 6, the fur-edged bolero inset with lozenges of tan tweed, the purple silk blouse similarly appliquéd, with pleated skirt, chest 81cm, 32in, waist 61cm, 24in (3) £200 - 300

177 A chinchilla coat, with single glass ovoid button to fasten, knee length, chest 112cm, 44in £800 - 1200

173 A Chanel boutique black stretch-crêpe cocktail dress with chain-mail tunic, 1980s, labelled and size 40, with collar and plastron of gilt links attached to belt at waist, bust approx 86cm, 34in £800 - 1000

178 A Valentino couture black sequined silk evening gown, circa 1986, labelled, with asymmetric ruffle and rosette to one shoulder, bust 92cm, 36in, waist 76cm, 30in £600 - 1000

174

174 A Christian Dior pictorial intarsia mink coat, 1980s, Paris labelled, with central black mink tree with dyed green canopy/hood, red apples, and a pond with fishes to the hem, sea-gulls in a blue sky lined in black silk, chest 112cm, 44in £2000 - 3000 175 A dyed orange-red fox fur jacket, 1980s90s, with matching scarf, chest 97cm, 38in (2) £250 - 350

173

178 37

179 A Valentino couture brown sequined evening gown, late 1980s, labelled, the sequined bodice with contrasting royal blue ruched silk jersey front panel, above shirred and gathered brown silk waistband, brown taffeta skirt, bust 97cm, 38in, waist 76cm, 30in £450 - 600 180 A Claude Montana black jersey evening gown, circa 1985, gold on white label, with one rounded curving shoulder and sleeve, the other with exposed shoulder and draped pleats, diagonal waist seam, long narrow skirt, bust 86-92cm, 34-36in £400 - 600 181 A Valentino couture bugle beaded 20s inspired cocktail dress, late 1970s, labelled, with pink-beige floral beading against an ivory bugle beaded ground, bust 97cm, 38in £350 - 500 182 A Jacqueline de Ribes evening gown, 1980s, labelled, of black velvet with plunging V neckline front and back, silver and copper satin sleeves with black nylon webbing insertions, tie belt, bust approx 97cm, 38in (2) £300 - 500 183 A Roberto Capucci couture purple velvet ball gown with flaménco flounced bolero jacket, mid 1980s, labelled, with simple empire-line bodice, the skirt falling in box pleats, matching taffeta bolero lined in sky blue and yellow silk, bust 86cm, 34in (2) £800 - 1200 183

184 A Chanel black and ivory crêpe de chine dress, Spring-Summer, 1984, boutique labelled, with gilt clover-leaf buttons, loose bodice, pleated skirt, bust 102cm, 40in, waist 71cm, 28in; and two Chanel adverts featuring the dress (3) £300 - 500 185 A Madame Grès couture ivory crêpe cape and trousers, possibly cruise wear, circa 1974, labelled, the cape with complex pleated but open shoulders, neck band fastened by hooks and eyes, matching wide legged trousers with patch pockets, waist 66cm, 26in (2) £500 - 700

183 detail 38

185

186 A Valentino black sequined bodice circa 1980, boutique labelled and size 6, with full sleeves and chiffon hem and slightly later Valentino sequined skirt size 8, waist 56cm, 22in; together with an YSL Rive Gauche black jersey empire line dress with shirred flounce above hem, labelled and size 38 (3) £400 - 600 187 A Guy Laroche couture pink satin cocktail gown, 1980s, Paris labelled, boned strapless bodice with cross-over pleating, large bow to one hip, short skirt and train, bust approx 81cm, 32in £600 - 800

188

189

188 A Vivienne Westwood ‘Harris Tweed’ collection complete ensemble, Autumn-Winter, 1987-8, Red label size 10, comprising: navy Princess jacket with black velvet facings, red tweed criniscule skirt; tweed crown trimmed with faux ermine; fine wool Smedley cardi with embroidered orb; together with a pair of modern ‘rocking-horse’ shoes, chest 86cm, 34in (6) £700 - 1000

189 A Westwood/McLaren man’s ensemble, ‘Nostalgia of Mud’ collection, Autumn-Winter, 1982-3, World’s End labelled, comprising: sheepskin Buffalo double-breasted frock coat, knitted vest with Inca motif to the front, cream boiled wool ‘high water’ pants with sash-cord ties; and a tall brown felt mountain hat, chest 117cm, 46in (4)

The coat is believed to be a prototype or one of the first versions made. The later examples on the catwalk had raw, unfinished edges unlike this one. Provenance: an employee at World’s End at the time. £1200 - 1800

190 back

190

190 A Thierry Mugler purple suede, orange and yellow scale-effect patent jacket, SpringSummer, 1989, blue label and size 38, with points to the waistline and collar, fins to the shoulder and cuffs, chest approx 86cm, 34in

Literature: ‘Thierry Mugler: Fashion, Fetish, Fantasy’, edited by Claude Deloffre, p127 for a catwalk photograph of a similar jacket in yellow. This model is shown in the catwalk show which can be viewed at: http://www.youtube.com/watch?v=dp1tskL LSlM&feature=related, it appears at 1.10 seconds. For a similar jacket in black and purple from the same collection see.KTA archive, 26.6.2012, lot 226. £2000 - 3000

194 40

191 A Valentino gold leather Egyptian inspired ensemble, mid 1980s, boutique labelled, the jacket with faux fur collar and lining, appliquéd brown satin papyrus blooms, with matching short skirt, chest 112cm, 44in, waist 61cm, 24in (2) £400 - 600

193 A Westwood/McLaren ‘Witches’ collection ‘Smiley face’ knitted top, Autumn-Winter, 1983-4, World’s End labelled, with angular short sleeves, the Keith Haring design knitted in two shades of grey, bust 86cm, 34in £350 - 500

192 A Vivienne Westwood crown, ‘Harris Tweed’ collection, Autumn-Winter, 1987-8, labelled, of multi-coloured tweed with faux ermine band, lined in ivory satin £350 - 500

194 A rare pair of Westwood/McLaren ‘Savages’ collection embroidered leather chisel-toed ankle boots, Spring-Summer, 1982, the uppers of Indian embroidery inset with mirrors, light tan toes, heels and cuffs, the beige leather stained pink by Vivienne, size 7 (2)

cf ‘Vivienne Westwood’ by Claire Wilcox p56 for a full page illustration of a similar pair of embroidered boots. £450 - 600

196 back

196

195 A John Galliano black gabardine frock coat, probably late 1980s, London labelled, and EUR size 36, with 19th century style notched lapels, non fastening but with large mother of pearl buttons, deep pockets, with back falling in two draped tails, chest 86cm, 34in £400 - 600

196 detail

196 A Westwood/McLaren ‘Nostalgia of Mud’ (Buffalo) collection printed cotton jersey toga dress, Autumn-Winter, 1982-3, World’s End labelled, the grey gown cut shorter at the front and with long train-like panel printed in dark brown with Matisse inspired motifs, bust approx 127cm, 50in

See V&A catalogue `Vivienne Westwood’ by Claire Wilcox p60 for a similar gown being modelled in 1982. This collection was the first to be shown on the catwalk in Paris. The printed design is derived from Henri Matisse’s ‘Femmes et Singes’ series of lithographs, 1905-1907. £800 - 1000

JAPANESE FASHION 199 An early and rare Comme des Garçons grey knitted dress, Autumn-Winter, 1983, ribbon label, the front with cascading integral scarf panels, tucked and vented bust darts, the back with pleats created by tucked and folded irregular bands

For a clip of this model in the catwalk show see: www.dailymotion.com/video/x25ouwx_co mme-des-garcons-autumn-winter-19831984-paris-pret-a-porter-woman-by-canalemoda_school £1500 - 2000

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200

200 An early Comme des Garçons ensemble, Autumn-Winter 1981, comprising: pleated tartan breeches, printed bon label, with exposed pocket to one side; and a black Loden jacket with antler buttons with bias bound edges, gold on black woven label (2)

197 A Comme des Garçons red and black felted wool ensemble, Autumn/Winter, 1988-89, the bolero bodice with gold and black label, chain-linked leather covered buttons, cut outs to underarms, piped in red; the matching gored circle skirt appliquéd with roundels, printed ribbon label, size S (2) £600 - 1000

This model was photographed by Peter Lindbergh for the Commes des Garçons catalogue. £800 - 1200

198 A Comme des Garçons charcoal grey dress with hood, probably Autumn-Winter, 1984, ribbon label, with wrap-around rear skirt section and tie belt, the pointed hood offset to one side of neck, the fabric with intermittent fine silver lurex stripes £500 - 700

201 An Issey Miyake crinkle-weave jacket, 1980s, labelled, the back panel looping over and fastened over the shoulders forming sleeves, with bands of fabric interlaced through the shoulders front and back, edged in self-fringing £450 - 600

199 42

202 A rare Issey Miyake raspberry-pink moulded plastic breastplate/bodice, Autumn-Winter, 1980, lined in black flocking, with naturalistic torso details and peplum-like lower edge, 40cm, 15 ¾in high

Provenance: Hannelore Smart £5000 - 8000 203 An early Issey Miyake knitted poncho-style sweater, 1974, with large red, white and blue woven label, size M, knitted in flecked grey and white cotton/wool, with integral ribbed sleeves

For a similar sweater see Harpers Bazaar, 1974. £300 - 500 204 An early Issey Miyake printed crêpe ensemble and related ephemera, 1973, with red white and blue label, comprising: anemone printed blouse and wide legged trousers, the fabric designed by Jacqui McLennan; together with six photographs of this ensemble and others being modelled in New York in January 1973; associated fabric swatches; press clippings; Issey Miyake correspondence and invitations and further fabric swatches for his collections c.1969 (qty) £350 - 500

202

205 An Issey Miyake knitted ‘Shell’ jacket, 1984, grey and black label, the rib-knit in shades of light to dark midnight blue, with circular collar and hem band knitted in one, low-set kimono-like sleeves £500 - 800

205 label

205 43

206 back

206

206 An Issey Miyake pleated dress with image by Yasumasa Morimura, Guest Artist series, no 1, Autumn-Winter, 1996-97, Pleats Please labelled and size 4, with scooped neckline, one side printed with a statuesque female figure (excluding the head) from Ingres’ 1856 painting ‘La Source’, the skirt section with an inverted photographic image of Morimura encased in red net seemingly entwining and dissecting the figure, the reverse with the same images upside-down but including the female head, in original cellophane wrapper and long envelope; with two Pleats Please promotional cards (qty)

For this gown Miyake collaborated with photographer and video artist Yasumasa Morimura. For the printed design he made a collage of images of himself encased in red mesh entwining the neoclassical nude by Jean-Auguste-Dominique Ingres. Fashion and art interact to create layered impressions; the textured fabric - the printed images and the body of the wearer inhabiting it, all adding their different dimensions. To Miyake, the wearer is an essential participant in the design process: ‘When I make something, it’s only half finished. When people use it - for years and years - then it is finished.’ £700 - 1000 44

207 A rare Comme des Garçons black and white chequered ensemble, Spring-Summer, 1989, black and gold woven label, the top cut like a jockey-silk but with oriental knot fastenings in addition to the zip, van-dyked hem, elasticated collar and cuffs; the black chiffon skirt with looped and draped side panel, bust approx 81cm, 32in, waist 61cm, 24in (2)

This bold harlequin check was one of the signature looks of this collection. £600 - 1000

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207 detail

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208 A Comme des Garçons black and white ensemble, Spring-Summer, 1989, black and gold woven label and size M, comprising: short black and white houndstooth checked bomber-jacket with integral capelet; the black wool ¾ length breeches with high waist and double belts, chest approx 92cm, 36in, waist 61cm, 24in (2) £450 - 600

212

211 An Issey Miyake voluminous brown faux-fur jacket and dhoti-style pants, mid 1980s, grey and black label label, the reversible jacket in golden beige satin completely lined and edged in fur, the crinkled black polyester trousers with slits for the legs, waist 56cm 22in (2) £600 - 800

214 A Comme des Garçons navy knitted jersey ensemble, circa 1987, Tricot labelled and size M, comprising: short cardigan, skirt with front zip forming pleats and tubular opening, long knitted top with front zip, one side set at an angle to form a V shaped pleat (3) £400 - 600

209 An Issey Miyake quilted ‘Futon’ dress, 1990s, labelled and size M, of silvery anorak fabric padded and quilted with fan pleats to empire line bodice, horizontally banded skirt, bust 96cm, 34in £400 - 600 210 An Issey Miyake cotton lattice weave dress, early 1980s, grey and black label, of voluminous cut, traditional Japanese warpdyed cotton, with pointed ‘neckerchief’ panel to the front, diagonal hem with draped fullness to the back, bust 117cm, 46in £400 - 600

213 An Issey Miyake striped knitted silk ensemble, early 1980s, with grey and black label, the top with plain grey floating panel which forms a point to the front, loops under and attaches to the rear hem, striped back; the dhoti-style trousers with stripes in varying widths and plain grey gusset waist 66cm, 26in (2) £400 - 600

211 detail

212 An Issey Miyake degradé knitted jersey ensemble, early 1980s, grey and black label, comprising: simple sleeveless shift dress with side slit and diagonal rear hem, the jacket with angular sleeves, inset seemingly upside down which create draped falls on the body, points to the hem, bust 86cm, 34in (2) £600 - 900 45

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216

215 A fine Rei Kawakubo/Comme des Garçons blue-black polyester/cotton sculptural dress, ‘Body Meets Dress’ or ‘Bump’ collection, Spring-Summer, 1997, ribbon labelled, with a spiraling vortex of seams, lightly padded and tulle lined reinforced on the underside, when viewed flat the horse-shoe shaped upper bodice with curved apertures for the neck and arms placed at seemingly illogical distances and angles from one another

This piece was made as a sample for the Spring-Summer 1997 collection. It encapsulates Kawakubo’s concept that the dress and the body are inextricably linked - as she stated, ‘the body becomes dress, dress becomes body’. She played with the interaction between the surface fabrics of the dress and the curves and contours of the human form. With this feather-light dress the tulle backing holds the shape of the draped curves as it flows over the body. For an identical dress see the National Gallery of Australia collection http://publications.ngv.vic.gov.au/artjournal/rei-kawakubos-dress/45/#.VFC0NVOG8_a £3000 - 5000

216 A Rei Kawakubo/Comme des Garçons orange and red ensemble, ‘Body Meets Dress’ or ‘Bump’ collection, SpringSummer, 1997, ribbon label, size S, comprising soft red knitted waistcoat with integral ‘bump’ pillows; the stretchy semitransparent skirt formed from contoured panels which form drapes overall (2) £2000 - 3000

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217 A Rei Kawakubo/Comme des Garçons red and white nylon gingham ensemble, ‘Body Meets Dress’ or ‘Bump’ collection, SpringSummer, 1997, printed ribbon label, comprising t-shirt and matching stretch skirt with bump section to one hip, size M

Literature: Similar models are reproduced in, ‘Japanese Fashion Designers, The Work and Influence of Issey Miyake, Yohji Yamamoto and Rei Kawakubo’, Bonnie English, Editions Berg, 2011, pp64, 73. £800 - 1000

218

218 A Rei Kawakubo/Comme des Garçons navy and white stretch gingham dress, ‘Body Meets Dress’ or ‘Bump’ collection, SpringSummer, 1997, Robe de Chambre label, of stretch polyester, holes cut for the neck and arms, irregular seams creating an empire line bust with bulges to the sides, ruff-like cowl with bulges to the shoulders, bust approx 86cm, 34in

219 A Junya Watanabe/Comme des Garçons pale grey wool dress ‘Body Meets Dress’ or ‘Bump’, Spring-Summer, 1997, Tricot labelled, cleverly pleated and bias-cut to form points, bust approx 92cm, 36in £400 - 600

For an identical dress see KTA 15.6.2013, lot 170. £3000 - 5000

220 back

220 A Rei Kawakubo/Comme des Garçons black satin and white tulle ‘Rising Sun/’Japanese Flag’ ensemble, Spring-Summer 2007, the label dated 2006AD and size SS, comprising long sleeved white triacetate/polyester tulle inner dress, attached to the coat at the rear collar and appliquéd to the rear skirt with a hinomaru (rising sun) motif in scarlet flocked velvet, with pocket compartments at the raised waist, no fastenings; the black satin coat with unfinished seams at the irregular exterior waistline, broad satin belt, bust 81cm, 32in (2) £4000 - 6000

220

221 A Comme des Garçons black tulle ballerina skirt, Autumn-Winter, 1995, Noir labelled, with petersham and satin ribbons which tie at the front

On the catwalk this was worn with a simple crop-top. £300 - 500 222 A Comme des Garçons black wool ‘Le Smoking’ suit, 1991, gold on black woven label, size M, the outsized jacket with vinyl lapels and outsized fabric corsage, with short matching skirt, chest 107cm, 42in, waist 66cm, 26in (2) £250 - 350

223 A Comme des Garçons grey knitted ensemble, ‘Free Knitting’ collection, Autumn-Winter, 2002, ribbon label and size S, the chunky knit cardigan with off-centre buttoning to the front, low and high set sleeves; the skirt of finer-knit with circular aperture to the underside, raw seams, zigzag hem (2) £500 - 700 224 A Comme des Garçons bucket-shaped gold vinyl shopping bag, circa 2008, 53cm, 21in £200 - 300

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225 A Rei Kawakubo/Comme des Garçons ‘Inside Decoration’ collection skirt, AutumnWinter, 2010, labelled and size XS, of white chiffon decorated with pillow-form outcrops within an undulating plastic framework, waist 58cm, 23in; together with a Comme white leather bra (2)

For the catwalk show the skirt was worn with a matching shirt, but in an advertising campaign the skirt was worn with nothing but a cup-less bra. £700 - 1000 226 A Commes des Garçons bias-cut black patchwork dress, probably 1990s, Tricot label, formed from irregular patches of lace, velvet and other black textured fabrics, with pouched drape to centre-front and pointed drape to rear shoulders, bust approx 92cm, 36in £400 - 600 227 A Comme des Garçons ‘petticoat’ dress, ‘Ethnic Couture’ collection, Spring-Summer 2002, ribbon label, the white cotton bodice split down the centre front and back with satin ribbons which tie to the front, double layered crin overskirts edged in lace, bust 86cm, 34in £400 - 600

230 A Yohi Yamamoto draped black nun’s veiling and oriental damask dress, earlymid 1980s, labelled and size S, the sleeves with grey embroidered faggotted seams, pleated gathers to neck, underarms and dropped waistline creating drapes £350 - 500 231 A Comme des Garçons purple flocked grey wool coat/cape, ‘Flowering Clothes’ collection, Autumn-Winter, 1996, black and gold label, which can be worn and fastened in different ways, vibrant flocked floral designs on a grey herringbone wool suiting fabric, two large safety pins to fasten (3)

The Metropolitan Museum have a similar piece in their archive in a different colourway: www.metmuseum.org/collection/thecollection-online/search/632804 £500 - 900

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228 A Comme des Garçons colourful patchwork ensemble, Spring-Summer, 2010, black and gold woven label and size S, composed from de-constructed other garments and fabric scraps, comprising: ivory calico bodice, sequined half-bolero and skirt composed from multi-coloured brocades, sequins, including a section of a preformed bodice section (3) £500 - 900

232 A Commes des Garçons inside-out striped cotton shirt/dress, Autumn-Winter, 1998, ribbon label, size S on the outside neck, with grey wool shoulder panels, with grey wool and calico side-saddle style apron skirt with padded circular knee-panel, tab and button to fasten £400 - 600 233 A Comme des Garçons tartan waistcoat, Autumn-Winter, 2000, labelled, with ruffled flounces to the front, the open back with two metal chains; together with a Junya Watanabe/Comme black tweed skirt, 2003 threaded through with chains (2) £350 - 500

229 A Stephen Jones for Comme des Garçons black ‘bunny ears’ hat, Autumn-Winter, 2007, labelled, of wired black wool, elastic head band and comb, 30cm, 12in high £250 - 400

231 50

235 A Junya Watanabe/Commes des Garçons pink and white floral printed calico bondage dress, Spring-Summer, 2002, labelled and size S, with criss-cross webbing straps to the bodice front, ruched webbing bands, bust approx 81-86cm, 32-34in £350 - 500 236 A Comme des Garçons brown devoré velvet and chiffon padded dress, ‘Flowering Clothes’ collection, Autumn-Winter, 1996, black on white ribbon label, of trapezoid shape with tapering sleeves, lozenge shaped neck-hole, padded to edges throughout and lined in cream cotton, size M

This model was included in the catwalk show. £600 - 1000

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234 A Comme des Garçons black and red flocked and cut velvet ensemble, ‘Flowering Clothes’ collection, Autumn-Winter, 1996, ribbon label, the tunic with V-shaped pleats to rear bodice, graduated pleated skirt, the breeches with draw-string to waist and crotch set just above the knee level (2) £500 - 900

237 A Comme des Garçons soft pink quilted dress with train, ‘Flowering Clothes’ collection, Autumn-Winter, 1996, printed ribbon label, with textured irregular quilting with cap sleeves, inverted pleat to the inside back which forms a long looped train at the rear, bust 86cm, 34in £500 - 700 238 A Junya Watanabe/Comme des Garçons printed toile de jouy style cotton bondage suit, 2002, labelled and size S, in green and pink with country scenes contrasting with the webbing straps and buckles to the bodice and trousers, bust 97cm, 38in, waist 71cm, 28in (2) £400 - 600

236 51

241 A Tao Kurihara/Comme des Garçons silver lurex dress, Autumn-Winter, 2008, labelled, the de-constructed metallic dress adorned with black soutache ribbon flowerheads, asymmetric sleeves edged with gathered ruffles and muslin ties to the side exposing the lower back, size S

This model was presented as part of the catwalk show. £800 - 1200 242 A Junya Watanabe/Comme des Garçons ribknit sweater with concentric ring adornments, Autumn-Winter, 1998-99, labelled, with rigid metal hoop holding the funnel collar in place, the metal coils descending down the torso, open seams to the upper sides through which thread through sleeve panels £450 - 600

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241

239 A Rei Kawakubo/Commes des Garçons black and white calico pinafore dress, Spring-Summer, 2014, printed ribbon label, with dramatic black symbol appliquéd and interwoven through the sleeves, attached to the angular side panniers and threading through the front and back ovoid openings £400 - 600

243 A Tao Kurihara/Commes des Garcons black wool coat-dress, Autumn-Winter, 2008 collection, labelled and size SS, with graduated hem, wide ruffled 18th century style cuffs with raw-edged fringes, bows to fasten on one side, the fabric woven in varying textural blocks which are then seemingly randomly pieced, chest approx 81cm, 32in

240 A Junya Watanabe/Comme des Garçons red muslin blouse, ‘Techno Couture’ collection, Autumn-Winter, 2000, webbing label, and size S, with honeycomb lattice pleated shawl collar, prestud fastened

The named Tao Comme des Garcons label was introduced in A/W 2005 collection and ended in 2011 when she decided to work under the umbrella of the CdeG Tricot label. ‘Future Beauty’ pp 225-233 references her work. £250 - 350

An identical shirt is illustrated in ‘The collection of the Kyoto Costume Institute’ Vol II, p693. KTA sold the matching skirt for £5500 on 2.12.2013. £450 - 600

244 A Yohji Yamamoto sailor dress, 1991, labelled and size S, of wool, with raglan sleeves, decorative white buttons and braid edging to the collar and front closure, rows of buttons to the rear back-flap, tulipshaped skirt with vented side pockets, bust approx 86cm, 34in 242

For this dress on the catwalk see: www.youtube.com/watch?v=OqqjF2SnbL8 £450 - 600

245 A Yohji Yamamoto black gauze dress and Shibori-dyed kimono, Autumn-Winter, 1995, labelled, the layered black open-weave under-robe with cross-over bodice edged in silk, the back of the dress left completely open; the kimono with bold colour blocks of black and red silk crêpe with textured shibori dyed tree-shaped or mushroom cloud shaped motif to centre-back, short kosode-like sleeve panels (2)

For the 1995 Spring-Summer and AutumnWinter collections, Yamamoto delved back into his cultural heritage to produce a collection that was spiritually and technically Japanese and a celebration of the traditional kimono. He collaborated with celebrated artisans skilled in the production of these specialist fabrics. Despite the collection being expensive and made in small numbers the collection was a great success. Although Yamamoto often used Japanese references in his designs this collection was the only time when both the shape and the fabrics were derived from the traditional kimono. £3000 - 5000

245

245 detail

245 back 53

250 A Yohji Yamamoto navy gabardine waistcoat, circa 1990, un-labelled, the two chest panels applied with three pocket flaps with strapwork connections to the hem and lapels, lined in striped fabric, chest 107cm, 42in £300 - 500

246 A Junya Watanabe/Comme des Garçons red and white knitted and vinyl inset dress, Autumn-Winter, 2001, webbing label, the honeycomb-effect knit woven with black and white Chanel-style ribbon tufts, clear vinyl collar and bodice inserts, with broad centre-front pleat, bust approx 81cm, 32in; together with a pair of striped vinyl Junya Watanabe/Comme shoes, size M (3) £400 - 600

251 A Junya Watanabe/Comme des Garçons black Goretex dress, Autumn-Winter 2005, printed webbing label, Gore Windstopper label, size S, with centre-front zip fastener, as well as velcro and elasticated cords normally found on cagoules, zip fastened hip pockets to the A-line skirt, criss-cross cords and toggles to the rear bodice, bust approx 81-86cm, 32-34in £500 - 700

247 A Comme des Garçons cream and black ruffled ensemble, ‘Adult Punk’ collection, Autumn-Winter, 2000, black and yellow woven label, comprising: cream blazer with shredded, layered tiers of wool and chiffon to the hem, spine and cuffs, the striped and flecked velvet skirt reminiscent of a Victorian petticoat similarly trimmed, chest 92cm, 36in, waist 66cm, 26in (2) £400 - 600

248

248 A Junya Watanabe/Comme des Garçons printed cotton bondage dress, SpringSummer 2002, printed label, with colourful fruit print, the fabric ruched and gathered by the adjustable webbing bondage straps and buckles, Y-shaped straps to rear bodice over inner ruched bodice with ruffle collar, bust approx 86cm, 34in £450 - 600 249 A Yohji Yamamoto black faille cocktail dress, Spring-Summer, 2000, labelled and size 2, with cord ropes that thread through the bodice top and form a halter-neck, with cross of white tacking stitches down the front £200 - 300

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251

253 A Junya Watanabe/Commes des Garçons silver gauze and tartan lined coat, ‘TechnoCouture’ collection, Autumn-Winter, 2000, webbing label, size M, entirely lined in tiered flounces of green and blue tartan, double-breasted prestud fastened; together with a brown gauze skirt from the same collection, lined with self-ruffles (2) £500 - 800 254 A Yohi Yamamoto cream slubbed oatmeal denim and knit ensemble, early 1980s, Pour la Nuit label, the dress with ribbed knit bodice, the skirt caught in convoluted drapes and folds, top-stitched zig zag hem with buttoned tab to one side; the jacket with similar top-stitching, triple layered waterfall drapes to one side, irregular seams to the back (2) £500 - 700

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252 A Yohji Yamamoto black crêpe dress with chains, Spring-Summer, 2008, labelled, the low open back covered with loops of silver chains, rear left zip fastening, non functional button bands to either side of the opening, floating panels descend from the shoulders down the skirt sides, pocket to right hip, bust approx 86cm, 34in; together with a short silver bomber jacket with multiple zips, which was worn over one shoulder with the dress in the catwalk show (2) £600 - 1000

255 A Yohji Yamamoto navy wool dress and felt hat with plaits, Spring-Summer and Autumn-Winter 1990 collections, both labelled, the lightweight wool dress with Vopenings front and back, with integral fichu panels which criss cross and plait at the front; the hat designed by Akio Hirata with wired brim and felt plaits (2)

For examples of the hat worn in the fashion show see: www.dailymotion.com/video/x25or6t_yohji -yamamoto-autumn-winter-1990-1991-parispret-a-porter-woman-by-canale-moda_people £800 - 1200

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VARIOUS DESIGNERS

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256 A Martin Margiela green silk evening dress with train, circa 2006, blank label and original card shop tag, with plunging V neckline, structured shoulders, short front skirt with rolled and gathered pleats, hem falling in a long train with silver chain for wearing around the neck or to wrap around a wrist, bust 86cm, 34in £600 - 1000 257 A pair of John Galliano newspaper print leather gloves, 2001, with Galliano Gazette print in matching tissue and original box (3) £200 - 300

259 A Vivienne Westwood shirred and ruffled black tulle evening ensemble, ‘On Liberty’ collection, Spring-Summer, 1995, Gold label and with catwalk no.69, comprising long tubular dress with integral scarf panels and long sleeves and matching knickers with shot orange silk bum-pad which shows through (2)

This piece is a sample that was used in the Paris catwalk show. £800 - 1200 259 detail

258 A Jean-Paul Gaultier black velvet evening ensemble, 1990s, Femme labelled, UK size 10, the ball gown with padded hem and large metal zips to hips and rear closure; the matching jacket with contrasting bright orange polyester facings and lining, prestud fastened, bust approx 86cm, 34in (2) £300 - 500

262 A rare limited edition Hussein Chalayan Airmail paper dress, 1999, of white Tyvek paper, labelled, incorporating red and blue airmail banding, the envelope enclosing the dress but also acting as a short train, printed with folding instructions, and with separate sticky labels for creating darts and for postage address, bust approx 86cm, 34in

Chalayan is known for his themes of migration and communication which he said stems from his childhood - writing letters to his mother in Turkey. It’s an idea Hussein Chalayan has been working on since his days as a student. His air-mail envelope jacket was worn by Bjork on the 1995 album cover ‘Post’. £600 - 800

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262 detail

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260 An Azzedine Alaïa black chenille-knitted evening gown ‘Houpette’, Spring-Summer, 1994, labelled and size M, the sculpted figure-hugging dress with radiating concentric chenille bands, trained hem, bust approx 86-92cm, 34-36in £700 - 1000

263 An Azzedine Alaïa brown knitted silk cocktail dress, circa 2011, labelled and size XS, the skirt of layered silk lace interspersed with slotted ribbons, bust approx 81cm, 32in; and a tufted brown raffia-effect bolero cardigan (2) £600 - 800

264 An Azzedine Alaïa snakeskin-effect knitted dress, Autumn-Winter, 2010, labelled and size 38, figure-hugging with high neck and short, full skirt, bust approx 76cm, 30in £600 - 800

261 An Azzedine Alaïa brown textured knit dress, circa 2009, labelled and size 38, with overall leopard-spot pattern, wide ribbing to the midriff, the skirt with vandyke edged pleats, bust approx 76cm, 30in £500 - 600

265 A Jean Paul Gaultier stretch-jersey dress printed with body contours, SpringSummer, 1996, Maille labelled and size 40, printed in blue on a flesh-pink ground, bust approx 81cm, 32in

Literature: Taschen ‘Fashion, the Collection of the Kyoto Costume Institute’ Volume II pp540-541 for a similar example. £300 - 500

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266 detail

266 A Jean Paul Gaultier Egyptian-inspired couture evening gown, Autumn-Winter, 1999-2000, with couture lace label, with gilt metal harness-type straps reminiscent of bull’s horns, the cloth of gold underdress with boned bodice, overlaid with black crystal-pleated chiffon, bust approx 86cm, 34in

This gown was commissioned but never worn. £5000 - 8000

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267 A Jean Paul Gaultier couture black velvet toga-style dress and gold painted kimono jacket, Autumn-Winter, 1999-2000, both with couture lace labels, the dress with cowl neck, low back, hand loop to the long train, all edged in black bugle beads, bust approx 86cm, 34in; the voluminous textured and painted silk jacket covered in irregular painted rubber shards and sequins, lined in gold silk (2) £3000 - 5000

267 detail

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272 A Jean-Paul Gaultier ‘Mad Max’ dress, Autumn-Winter, 1995-96, Maille labelled and size M, of stretch lycra/spandex forming a second skin, the computergenerated spot pattern reflect the contours of the body, with spot-print portrait to the rear shoulders, bust approx 86cm, 34in

268 A Valentino couture scarlet organza evening gown, circa 1994, labelled, the strapless bodice with integral corset, pleats crisscross the bodice and widen into broad petal-shapes at the hem, the matching stole with cuffs, bust approx 97cm, 38in, waist 76cm, 30in (2) £450 - 600

For this collection Gaultier drew inspiration from the 1979 science fiction film ‘Mad Max’. £300 - 500

269 A Gianni Versace black patent vinyl and pleated lurex evening gown, mid 1990s, couture labelled, and size 42, with large gilt metal Medusa head buckle to single shoulder strap, the skirt with chevron patterned draped pleats, bust approx 92cm, 36in £400 - 600 270 A Stephen Jones ‘Rose Royce’ miniature topper, ‘Contours’ collection, AutumnWinter 1996, labelled, the curl of soft velvet lined with burgundy satin which coils to form a rose on the crown, 30cm, 12in high, in original box (2)

271

Stephen Jones has declared this to be his favourite hat of all time when asked to choose amongst his designs at the time of the ‘Hats’ exhibition at the Victoria & Albert Museum in 2009 which he curated. £300 - 500 271 A Jean-Paul Gaultier painted and embroidered silk gauze jacket, SpringSummer, 1994, printed label with Imperial crown and radiating arrows ‘Paris’ below, cut in 18th century style with irregular shell buttons, painted in silver and green with snakes, Masonic/mystical symbols, chest 36cm, 92in £600 - 1000

273 detail

273 A Christian Lacroix couture cocktail dress, Spring-Summer, 1991, gold woven couture label, of midnight blue linen and gold shantung silk, with wide bateau neckline, ruched and gathered short puff-ball skirt to the front and long trained skirt to the back, with large gilt metal brooch to the breast based on a 17th century strapwork design, bust approx 86cm, 34in (2) £800 - 1200

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274 An opulent Kenzo printed velvet evening coat, Autumn-Winter, 1994, labelled, of voluminous cut, the exterior printed with traditional 1880s furnishing fabric design, the interior velvet printed with tulips, floor length sleeves; together with a tweed skirt, chenille woven overskirt; wine cardigan with Chinese style side fastening; and a printed wool shawl (5) £800 - 1200

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Lots 275 to 277 the property of drag artist Ms Trixie Bellair (Nicholas Townsend), a close friend of the late Alexander McQueen 276 A rare ensemble made for McQueen’s ‘Highland Rape’ collection but not used in the show, Autumn-Winter, 1995-6, comprising: crudely made lilac suede trouser-boots, with hip pockets, nylon rear zip fastening and starched muslin interlining to the waistband, inset with a pair of high heeled shoes, waist 66cm, 26in; and a pastel floral printed satin blouse with triple pleats to the rear elbow areas to produce a curve, button-down collar, chest 97cm, 38in (2)

Trixie recalls Lee telling her that these items were pulled from the show as at the last minute he deemed them to be too pretty. ‘Highland Rape’ was the show that really launched McQueen’s career and his aim was to shock. Again the press railed against his (to them) brutal and degrading treatment of women. However, for McQueen the collection was influenced by his perceived rape of Scottish culture, the 1745 Jacobite Rebellion and 19th century Highland Clearances - not woman-kind, which much of the press failed to grasp. £1500 - 2500

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275 A rare Alexander McQueen lilac vinyl pencil skirt worn in the ‘Highland Rape’ show, Autumn-Winter, 1995-6, crudely made with rear kick-pleat, nylon zip, the side seams below the waist opened up and with remains of gaffer-tape residue used to temporarily close the seams for the show, waist 86cm, 34in

For the show the skirt was pushed low down to ‘Bumster’ height which presumably meant opening the side seams at the top to achieve the required level. It was teamed with a black and silver top with renaissance style large-scale print which left the midriff exposed in the show. £700 - 1000

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276

277 A rare and early pair of ‘Bumster’ proto-type trousers, hand-made by Lee as a birthday gift for Trixie, December, 1992, un-labelled, of shiny grey suiting fabric with a fine lattice weave, rear zip fastening and button to the waist, turn-ups, low-waist 81cm, 32in, measurement from crotch to top of waistband is 18cm, 7in

‘Bumster’s’, which became a signature look, first appeared in McQueen’s ‘Nihilism’ collection Spring/Summer 1994, which was shown at the Bluebird garage in October 1993. Lee borrowed back these trousers to use as a template for those made for the show and were later returned. Lee and Andrew Groves were living in Trixie’s flat in Battersea at the time which they also used as a studio.

278 label

In the ‘Nihilism’ show, pairs of identical trousers were worn with finely tailored late 18th century inspired tailcoats. With the new ‘Bumster’s’ McQueen was playing with proportions - instead of elongating the legs he decided to elongate the torso by reducing the waistline as far as possible. In a BBC interview in 2009 he stated that: ‘To me that part of the body - not so much the buttocks, but the bottom of the spine that’s the most erotic part of anyone’s body, man or woman’.

277

Radical and shocking, the fashion press reacted against the cling-film transparent knickers, bumster trousers, blood-like splashes and slashed detailing on some of the dresses. Very few pieces from the Nihilism collection seem to have surfaced. These trousers are particularly rare as they were made by Lee himself. £800 - 1000

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278 An Alexander McQueen grey cassock-style dress, ‘Joan’ collection, Autumn-Winter, 1998, labelled, buttoning from high stand collar to hem, and from cuffs to elbows, with flared sweeping hem, bust 92cm, 36in £2000 - 3000 277 detail 63

279 A fine Alexander McQueen for Givenchy couture tartan 18th century inspired dress, ‘Eclect-Dissect’ collection, Autumn-Winter, 1997-98, labelled Givenchy Haute Couture, of McQueen tartan with black guipure overlays to hem and front waist, engravedeffect silvered buttons edged in rhinestones, padded angular shoulders, the massive shaped cuffs trimmed with black ruffles and ivory lace, chest 81cm, 32in

In the fashion show Alek Wek wore this model with a white shirt, tartan tie and net mitts. £5000 - 8000 280 An Alexander McQueen for Givenchy ‘Robot painted’ effect organza dress, SpringSummer, 1999, couture labelled and size 0, the simple shift dress printed with a replica of part of the pattern created by the two automated robots that sprayed paint over a muslin trapezoid dress in the catwalk show, bust 81cm, 34in £400 - 600 281 An Alexander McQueen for Givenchy embroidered black crêpe trouser suit, late 1990s, couture labelled and size 36, the coat with accentuated padded shoulders, embroidered to the front with mauve blossom boughs, matching embroidered trousers, size 38, chest 86cm, 34in, waist 66cm, 26in (2) £350 - 500

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282 A fine Alexander McQueen for Givenchy couture silver beaded evening gown, Spring-Summer, 1998, dated label and numbered ‘44. At Catherine’, of silver and ivory sari-silk, the upper bodice of flesh coloured tulle embellished with fish-scale loops of silver and crystal beads, the left midriff left un-adorned, with 36in long trained hem, bust 76cm, 30in, waist 61cm, 24in

In this third collection for Givenchy, McQueen had two major themes Japanese-inspired garments and a fascination with chain mail. One model wore a chain mail headdress reminiscent of a Norman crusader. McQueen used real chains or beads to resemble chain mail, as in this case. See KTA lot 176 25.6.13 for a dress with metal ‘chain mail’ bodice from the same collection. This haute couture gown was commissioned but never worn. £6000 - 10000

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283 An Alexander McQueen tartan wool jacket, ‘Joan’ collection, Autumn-Winter, 1998, labelled, and with McQueen lattice patterned black damask lining, buttoning from the high stand collar to the hem, and from cuff to elbow, bust 86cm, 34in £3500 - 5000

285 An Alexander McQueen giant hound’s tooth checked wool trapezoid cape, ‘The Horn of Plenty’ collection, Autumn-Winter, 2009-10, metal label and size 40, with funnel shaped collar, double-breasted with large black buttons, curved pocket vents, lined in ivory silk, with original shop tag and spare button £2000 - 3000

284 An Alexander McQueen red and black jacquard weave cocktail dress, ‘The Horn of Plenty’ collection, Autumn-Winter, 2009-10, narrow white on grey label and size 40, woven with black birds silhouetted against a red ground, deep, curved pocket to left hem, high, wide collar, bust approx 101cm, 40in £1500 - 2500

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286 An Alexander McQueen military-style embroidered wool evening suit, AutumnWinter 2006, with metal dog tag label, and size 40, the jacket embellished with raised silver purl wire and elliptical sequined paillettes, no fastenings, faux pockets; the matching trousers with side panels similarly embroidered, chest 86cm, 34in, waist 81cm, 32in (2) £1000 - 1500

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287 A fine Alexander McQueen for Givenchy couture soft grey leather cocktail dress, Spring-Summer, 1998, navy woven satin couture label, lined and faced in burgundy silk, the obi-style waistband embroidered with Hokusai-like waves, boned high collar, knotted fringed (reminiscent of a Chinese shawl) grey silk and silver thread lattice to the hem, bust approx 76-81cm, 30-32in, waist 66cm, 26in

This haute couture piece was commissioned but never worn. £4000 - 6000 286 label

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288 An Alexander McQueen metallic finished suede dress, ‘Deliverance’ collection, Spring-Summer, 2004, with Press sample label, hand numbered 126100, xn075, 1167, with multiple criss-cross straps, gored graduated skirt with punched decoration, bust approx 76cm, 30in £500 - 900 289 An Alexander McQueen for Givenchy beaded tulle native American squaw-style cocktail dress, Spring-Summer, 1998, couture labelled, with fringes to neck and hem, the dark blue ground embroidered with star-like motifs, bust 81cm, 32in

To see a mauve version of the dress being modelled on the catwalk see: https://www.youtube.com/watch?v=I_J2Z2 kqJOo&list=PLDC-jthf6cIEauLZTdqWTGCYyZgPnlDA&index=6 £500 - 800

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290 An Alexander McQueen jewelled ‘goddess’ dress, ‘Neptune’ collection, SpringSummer, 2006, with narrow grey label and large white Press sample label, the boned bodice with breast cups outlined in a web of rhinestone and bugle beaded bands, bust approx 81cm, 32in £800 - 1200

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292 An Alexander McQueen printed satin ensemble, ‘Natural Distinction, Un-Natural Selection’ collection, Spring-Summer, 2009, labelled and sizes 44 and 42, with kaleidoscopic bark-effect print overall, the jacket with shaped breast panels and curved bands outlining the hips, worn over a short skirt set with broad back pleat, which sits low on the hips, bust 92cm, 36in, waist 76cm, 30in (2) £600 - 1000

291

291 An Alexander McQueen gold and silver brocaded evening jacket, ‘Angels & Demons’ collection, Autumn-Winter, 201011, with metal dog-tag label and size 42, the shimmering fabric woven with angels with outstretched wings, concealed buttonclosure with a matching belt threading through side slots at the waist, complex darts and pleats form wing like pouches front and back, bust 92cm, 36in (2)

‘Angels & Demons’ was the last collection designed by McQueen before his untimely death. This jacket was worn with matching trousers. £1500 - 2000

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293 An Alexander McQueen ‘Plato’s Atlantis’ collection snakeskin print silk dress, Spring-Summer, 2010, narrow grey label and size 38, the kaleidoscope print in shades of blue, internal pannier struts which support hip bands applied with graduated blue enamel plaques which finish in points at the front hem, floating ‘sack-back’ panels to the back, bust approx 86cm, 34in £6000 - 9000

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294 An Alexander McQueen ‘Plato’s Atlantis’ collection snakeskin printed organza dress, Spring-Summer, 2010, grey label and size 42, with python-like photo-collage print in brilliant colours, internal flesh coloured boned corset-like bodice, bust approx 86cm, 34in, waist 66cm, 26in; together with a McQueen Spring-Summer 2010 catalogue illustrating the dress (look no. 4) (2)

McQueen said of this collection that it predicted a future in which ‘the ice cap would melt...the waters would rise and ...life on Earth would have to evolve in order to live beneath the sea once more or perish... Humanity (would) go back to the place from whence it came’. ‘There is no way back for me now. I am going to take you on journeys you’ve never dreamed were possible’. Literature: Metropolitan Museum ‘Savage Beauty’, pp.184-195. £8000 - 12000

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END OF SALE 71

CONDITIONS OF BUSINESS FOR BUYERS 1. Introduction (a) The contractual relationship of Kerry Taylor Auctions Ltd &. and Sellers with prospective Buyers is governed by:(i) these Conditions of Business for Buyers; (ii) the Conditions of Business for Sellers displayed in the saleroom and available from Kerry Taylor Auctions Ltd; (iii) Kerry Taylor Auctions Ltd’s Authenticity Guarantee; (iv) any additional notices and terms printed in the sale catalogue, in each case as amended by any saleroom notice or auctioneer’s announcement. (b) As auctioneer, Kerry Taylor Auctions Ltd acts as agent for the Seller. Occasionally, Kerry Taylor Auctions Ltd may own or have a financial interest in a lot. 2. Definitions “Bidder“ is any person making, attempting or considering making a bid, including Buyers; “Buyer“ is the person who makes the highest bid or offer accepted by the auctioneer, including a Buyer’s principal when bidding as agent; “Seller“ is the person offering a lot for sale, including their agent, or executors; “KT” means Kerry Taylor Auctions Ltd of 249-253 Long Lane, London SE1 4PR, company number 7173571 “Buyer’s Expenses” are any costs or expenses due to Kerry Taylor Auctions from the Buyer; “Buyer’s Premium“ is the commission payable by the Buyer on the Hammer Price at the rates set out in the Guide for Prospective Buyers; “Hammer Price“ is the highest bid for the Property accepted by the auctioneer at the auction or the post auction sale price; “Purchase Price“ is the Hammer Price plus applicable Buyer’s Premium and Buyer’s Expenses; “Reserve Price“ (where applicable) is the minimum Hammer Price at which the Seller has agreed to sell a lot. The Buyer’s Premium, Buyer’s Expenses and Hammer Price are subject to VAT, where applicable. 3. Examination of Lots (a) KT’s knowledge of lots is partly dependent on information provided by the Seller and KT is unable to exercise exhaustive due diligence on each lot. Each lot is available for examination before sale. Bidders are responsible for carrying out examinations and research before sale to satisfy themselves over the condition of lots and accuracy of descriptions. (b) All oral and/or written information provided to Bidders relating to lots, including descriptions in the catalogue, condition reports or elswhere are statements of KT’s opinion and not representations of fact. Estimates may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time at KT’s absolute discretion. 4. Exclusions and limitations of liability to Buyers (a) KT shall refund the Purchase Price to the Buyer in circumstances where it deems that the lot is a Counterfeit, subject to the terms of KT’s Authenticity Guarantee. (b) Subject to Condition 4(a), neither KT nor the Seller:(i) is liable for any errors or omissions in any oral or written information provided to Bidders by KT, whether negligent or otherwise; (ii) gives any guarantee or warranty to Bidders and any implied warranties and conditions are excluded (save in so far as such obligations cannot be excluded by English law), other than the express warranties given by the Seller to the Buyer (for which the Seller is solely responsible) under the Conditions of Business for Sellers; (iii) accepts responsibility to Bidders for acts or omissions (whether negligent or otherwise) by KT in

connection with the conduct of auctions or for any matter relating to the sale of any lot. (c) Without prejudice to Condition 4(b), any claim against KT and/ or the Seller by a Bidder is limited to the Purchase Price for the relevant lot. Neither KT nor the Seller shall be liable for any indirect or consequential losses. (d) Nothing in Condition 4 shall exclude or limit the liability of KT or the Seller for death or personal injury caused by the negligent acts or omissions of KT or the Seller. 5. Bidding at Auction (a) KT has absolute discretion to refuse admission to the auction. Before sale, Bidders must complete a Registration Form and supply such information and references as KT requires. Bidders are personally liable for their bid and are jointly and severally liable with their principal, if bidding as agent (in which case KT’s prior and express consent must be obtained). (b) KT advises Bidders to attend the auction, but KT will endeavour to execute absentee written bids provided that they are, in KT’s opinion, received in sufficient time and in legible form. (c) When available, written and telephone bidding is offered as a free service at the Bidder’s risk and subject to KT’s other commitments; KT is therefore not liable for failure to execute such bids. Telephone bidding may be recorded. 6. Import, Export and Copyright Restrictions KT and the Seller make no representations or warranties as to whether any lot is subject to import, export or copyright restrictions. It is the Buyer’s sole responsibility to obtain any copyright clearance or any necessary import, export or other licence required by law, including licenses required under the Convention on the International Trade in Endangered Species (CITES). 7. Conduct of the Auction (a) The auctioneer has discretion to refuse bids, withdraw or re-offer lots for sale (including after the fall of the hammer) if (s)he believes that there may be an error or dispute, and may also take such other action as (s)he reasonably deems necessary. (b) The auctioneer will commence and advance the bidding in such increments as (s)he considers appropriate and is entitled to place bids on the Seller’s behalf up to the Reserve Price for the lot, where applicable. (c) Subject to Condition 7(a), the contract between the Buyer and the Seller is concluded on the striking of the auctioneer’s hammer. (d) Any post-auction sale of lots shall incorporate these Conditions of Business. 8. Payment and Collection (a) Unless otherwise agreed in advance, payment of the Purchase Price is due in pounds sterling immediately after the auction (the “Payment Date”). (b) Title in a lot will not pass to the Buyer until KT has received the Purchase Price in cleared funds. KT will generally not release a lot to a Buyer before payment. Earlier release shall not affect passing of title or the Buyer’s obligation to pay the Purchase Price, as above. (c) The refusal of any licence or permit required by law, as outlined in Condition 6, shall not affect the Buyer’s obligation to pay for the lot, as per Condition 8(a). (d) The Buyer must arrange collection of lots within 10 working days of the auction. Purchased lots are at the Buyer’s risk from the earliest of (i) collection or (ii) 10 working days after the auction. Until risk passes, KT will compensate the Buyer for any loss or damage to the lot up to a maximum of the Purchase Price actually paid by the Buyer. KT’s assumption of

risk is subject to the exclusions detailed in Condition 5(d) of the Conditions of Business for Sellers. (e) All packing and handling of lots is at the Buyer’s risk. KT will not be liable for any acts or omissions of third party packers or shippers. 9. Remedies for non-payment Without prejudice to any rights that the Seller may have, if the Buyer without prior agreement fails to make payment for the lot within 5 working days of the auction, KT may in its sole discretion exercise 1 or more of the following remedies:(a) store the lot at its premises or elsewhere at the Buyer’s sole risk and expense; (b) cancel the sale of the lot; (c) set off any amounts owed to the Buyer by KT against any amounts owed to KT by the Buyer for the lot; (d) reject future bids from the Buyer; (e) charge interest at 4% per annum above The Bank of England’s Base Rate from the Payment Date to the date that the Purchase Price is received in cleared funds; (f) re-sell the lot by auction or privately, with estimates and reserves at KT’s discretion, in which case the Buyer will be liable for any shortfall between the original Purchase Price and the amount achieved on re-sale, including all costs incurred in such re-sale; (g) exercise a lien over any Buyer’s Property in KT’s possession, applying the sale proceeds to any amounts owed by the Buyer to KT. KT shall give the Buyer 14 days written notice before exercising such lien; (h) commence legal proceedings to recover the Purchase Price for the lot, plus interest and legal costs; (i) disclose the Buyer’s details to the Seller to enable the Seller to commence legal proceedings. 10. Failure to collect purchases (a) If the Buyer pays the Purchase Price but does not collect the lot within 14 working days of the auction, the lot will be stored at the Buyer’s expense and risk at KT’s premises or in independent storage. (b) If a lot is paid for but uncollected within 6 months of the auction, following 60 days written notice to the Buyer, KT will re-sell the lot by auction or privately, with estimates and reserves at KT’s discretion. The sale proceeds, less all KT’s costs, will be forfeited unless collected by the Buyer within 2 years of the original auction. 11. Data Protection (a) KT will use information supplied by Bidders or otherwise obtained lawfully by KT for the provision of auction related services, client administration, marketing and as otherwise required by law. (b) By agreeing to these Conditions of Business, the Bidder agrees to the processing of their personal information and to the disclosure of such information to third parties world-wide for the purposes outlined in Condition 11(a) and to Sellers as per Condition 9(i). 12. Miscellaneous (a) All images of lots, catalogue descriptions and all other materials produced by KT are the copyright of KT. (b) These Conditions of Business are not assignable by any Buyer without KT’s prior written consent, but are binding on Bidders’ successors, assigns and representatives. (c) The materials listed in Condition 1(a) set out the entire agreement between the parties. (d) If any part of these Conditions of Business be held unenforceable, the remaining parts shall remain in full force and effect. (e) These Conditions of Business shall be interpreted in accordance with English Law, under the exclusive jurisdiction of the English Courts, in favour of KT.

KERRY TAYLOR AUCTIONS LTD AUTHENTICITY GUARANTEE If Kerry Taylor Auctions Ltd sells an item of Property which is later shown to be a “Counterfeit”, subject to the terms below Kerry Taylor Auctions Ltd will rescind the sale and refund the Buyer the total amount paid by the Buyer to Kerry Taylor Auctions Ltd for that Property, up to a maximum of the Purchase Price. The Guarantee lasts for one (1) year after the date of the relevant auction, is for the benefit of the Buyer only and is non-transferable.

“Counterfeit” means an item of Property that in Kerry Taylor Auctions Ltd ‘s reasonable opinion is an imitation created with the intent to deceive over the authorship, origin, date, age, period, culture or source, where the correct description of such matters is not included in the catalogue description for the Property. Property shall not be considered Counterfeit solely because of any damage and/or restoration and/or modification work. Please note that this Guarantee does not apply if either:(i) the catalogue description was in accordance with the generally accepted opinions of scholars and experts at the date of the sale, or the catalogue description indicated that there was a conflict of such opinions; or (ii) the only method of establishing at the date of the sale that the item was a Counterfeit would have been by means of processes not then generally available or accepted, unreasonably

expensive or impractical; or likely to have caused damage to or loss in value to the Property (in Kerry Taylor Auctions Ltd’s reasonable opinion); or (iii) there has been no material loss in value of the Property from its value had it accorded with its catalogue description. To claim under this Guarantee, the Buyer must:(i) notify Kerry Taylor Auctions Ltd in writing within one (1) month of receiving any information that causes the Buyer to question the authenticity or attribution of the Property, specifying the lot number, date of the auction at which it was purchased and the reasons why it is believed to be Counterfeit; and (ii) return the Property to Kerry Taylor Auctions Ltd in the same condition as at the date of sale and be able to transfer good title in the Property, free from any third party claims arising after the date of the sale.

Kerry Taylor Auctions Ltd has discretion to waive any of the above requirements. Kerry Taylor Auctions Ltd may require the Buyer to obtain at the Buyer’s cost the reports of two independent and recognised experts in the relevant field. Kerry Taylor Auctions Ltd shall not be bound by any reports produced by the Buyer, and reserves the right to seek additional expert advice at its own expense. In the event Kerry Taylor Auctions Ltd decides to rescind the sale under this Guarantee, it may refund to the Buyer the reasonable costs of up to two mutually approved independent expert reports, provided always that the costs of such reports have been approved in advance and in writing by Kerry Taylor Auctions Ltd.

GUIDE TO PROSPECTIVE BUYERS Purchasers will be charged a premium rate of 25% up to £50,000 on the hammer price and 20% above. The premium is subject to VAT at the prevailing rate. There is no VAT charged on lot prices unless otherwise specified in the catalogue by the following symbols Property with a † symbol These items will be sold under the normal UK Vat rules and VAT will be charged at 20% on both the hammer price and buyer’s premium. Property sold with a ‡ symbol. These items have been imported from outside the EU to be sold at auction under temporary importation. VAT will be charged at 5% of the hammer price and 20% on the buyer’s premium. Property sold with a ∆ symbol. These items require a CITES licence to export outside of the EU. These cost £59 each and we are happy to assist our clients with applications. Payment Payment is due immediately after the sale in Pounds Sterling and may be made by Banker’s draft, Cashier’s cheque, Personal cheque, Wire transfer, Credit cards, Debit cards, Cash and Traveller’s cheques. Payments should be made to Kerry Taylor Auctions. Cash payments will not be accepted above £6,000 or $10,000. Payments in person can be made in the saleroom on the day of the sale, after this payments must be made by post, credit, debit card or wire transfer

Credit Cards Most major credit card brands are accepted, however surcharges will be added as follows to cover the charge made to us by our bank: Visa and UK Mastercard 3.1%; AMEX 2.6%; EU Mastercard 3.1%; International Mastercard 3.6%. For payments over £20,000 the cardholder must be present. There is no charge for using Debit cards. Please note it may be advisable to notify your credit card provider of your intended purchase in advance, to reduce delays caused by us having to seek authority when you come to pay. Payment by Cheque If payment is to be made by cheque and the cheque exceeds the cheque card guarantee limit, then goods can only be collected on the day of the sale if the buyer is known to us, or if accompanied by a letter from your bank to guarantee your cheque. Cheques often take as long as eight days to clear. We reserve the right to hold goods until a cheque is cleared. Electronic & Wire Transfers Wire transfers can be made to Bank of Scotland 59 Bath Street, Glasgow, G2 2DH Sort code: 12-24-81 Account number: 10040762 Account name: Kerry Taylor Auctions Limited Iban: GB28BOFS12248110040762 SWIFT: BOFSGBS1BBL If paying by bank transfer the amount received after either the deduction of bank fees or for the conversion to pounds sterling, must not be less than the sterling amount payable on the invoice.

Bidding in Person To bid with us you must register to obtain a bidding number. Before the auction, fill in the form at the registration desk, provide proof of identity and you may be given a paddle number. All lots sold will be invoiced to the name and address in which the paddle has been registered and may not be transferred to other names and addresses. If you instruct an agent to bid on your behalf you will need to provide a letter of authority and they will also need to provide proof of identity. Kerry Taylor Auctions reserves the right to refuse. Please hand back the paddle after use. Commission bids Commission bids are confidential and will be executed at no extra charge. Kerry Taylor Auctions endeavours to purchase lots as cheaply as possible, allowing for other bids and the reserves. Absentee bidding forms can be found at the back of the catalogue and should be completed and faxed at the number shown at the front of the catalogue. Please do not post in commission bid slips. It is in your interests to return your form as soon as possible as if two or more bidders submit identical bids for a lot, the first bid received takes preference. All bids should be received at least 24 hours before the start of the sale. It is your responsibility to check with us that your bid has been received. If you have never bid with Kerry Taylor Auctions before (even though you may be a past Sotheby’s client) you must also provide proof of identity. Failure to do this may result in your bids not being processed. Successful commission bidders will be notified by email immediately after the sale or you can phone us. Full payment must be sent to the Auctioneers.

DESIGN AND PRODUCTION Jamm Design Ltd www.jammdesign.co.uk

VEnuE, sToragE, CoLLECTion anD shiPPing LogisTiCs

on receipt of cleared funds, lots can be collected (see map above) during the auction or immediately after its completion. Lots will be available to collect between the hours of 9.30am - 5pm. after a period of 14 days following the auction, uncollected lots will additionally incur a storage charge of £3.50 per lot per week (or part thereof) and storage insurance at a rate of 1% of the purchase price per lot per week (or part thereof). Purchases can be collected in person from Kerry Taylor’s premises or by the buyer’s authorised agent or shipper. Movement Couriers are our appointed shippers. They can supply competitive worldwide quotations for the packing and shipping of purchases. Buyers are reminded that it is their resposibility to comply with uK export regulations and with any local import requirements

Kerry Taylor auctions Ltd 249-253 Long Lane London sE1 4Pr Tel: 00 44 (0)208 676 4600 fax: 00 44 (0)203 137 0112 email:info@kerrytaylorauctions.com

Movement Couriers email: sendit@movementcouriers.co.uk